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

There's almost no content in terms of language at all. I don't like using language to convey meaning. I'd rather use images and music.

You get up early in the morning and you work all day. That’s the only secret.

I'd say the differences are more interesting than the similarities at this point. Certainly no one would ever mistake my music for Steve's [ Reich].

I'd say it's just part of the world that we live in; it's part of the music world.

The problem with listening, of course, is that we don't. There's too much noise going on in our heads, so we never hear anything. The inner conversation simply never stops. It can be our voice or whatever voices we want to supply, but it's a constant racket. In the same way we don't see, and in the same way we don't feel, we don't touch, we don't taste.

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.