Sometimes I'll turn the channel and there's the movie and I can honestly say that those last few minutes always fascinate me. It's one of the rare instances when image, music, and drama work effectively.
Part of Michael's uniqueness, I think, comes from the fact that he worked with music. He had a tape which he gave me with many different compositions, really eclectic. These pieces of music were sources of inspiration.
Where painting is weakest, namely, in the expression of the highest moral and spiritual ideas, there music is sublimely strong.
When we moved back to the US, folk music was all the rage. So I traded in my banjo for a guitar.
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.
My mom was a dancer, my dad's a singer and I've always had that kind of music in my life.
But since the middle of the century in particular, the music has become very irregular in rhythm.
And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
Because the casual music listeners are the ones who turn on the radio and they don't really care what's playing, they just know that they kinda like it or it's easy to drive to or it's easy to sing along to or whatever.
Super casual music listeners. That's most of the people in the world. And you have to understand, that's why Top 40 radio exists. It's not there for people who seek out music and who love music.
So, when you divide the world into music lovers, music fans and then those people who are just very casual about their music, it's wallpaper to them, it's elevator music, it's just the thing that's playing in the background that helps them through their day.