I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

In order to arrive at a personal style, you have to have a technique to begin with.

I find that people can’t find you. It’s kind of quiet. When I go to a city, I can almost always get a piano if I need one. So there’s something nice about being on the road and focusing on something you want to do.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

I, as a young guy getting out of music school, I didn't like the prospect of spending my life writing music for about 200 people.

My biggest problem about writing is whenever I write piano pieces, because I then have to learn to play them, which is sometimes not so easy.

I like the idea that [Mahatma] Gandhi is appearing now in an opera hall in all these different places, and people kind of think about it again.