I'd like to think I could do something great - a performance like Meryl Streep's in 'Sophie's Choice' - at some point in my life. At the same time, though, I don't want to put too much pressure on myself to be great.
I would have liked it to have stayed serious and have the adventures of a family lost in space. This isn't to take anything away from Jonathan and the Robot. I watch his performance today and he still makes me laugh.
To pay out millions upon millions of dollars in bonuses for incomplete work, poor performance, and unacceptable products is the height of government waste and mismanagement.
The author himself is the best judge of his own performance; none has so deeply meditated on the subject; none is so sincerely interested in the event.
I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.
Then certainly for a musician timing becomes something that is immediately accessible as a concept, because it's a necessity in ones everyday performance.
It is the element I miss in electronic music - no performance, no loving immersion. Maybe that is why I was never particularly drawn to electronic music.
As I sit down and start to work, I often panic. I stare at the empty piece of music paper. How can I say that my piece will be ready for performance next January when I do not have a recipe for making it happen?
Personality is essential. It is in every work of art. When someone walks on stage for a performance and has charisma, everyone is convinced that he has personality. I find that charisma is merely a form of showmanship. Movie stars usually have it. A politician has to have it.
All the dialogue on tape, and we'd play the tape in performance. Then I thought it'd be interesting if the actor's repeated what they heard on the tape, but at a slower speed, so we'd get a web of language.
