Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
It used to be presumed that if you weren't at your desk working, you weren't working, But we said, 'Why can't we make a workplace where casual meetings are as important as working at your desk?' Sometimes that's where your better creative work happen...
Yes, people do come across the street to say hi, but as they approach and get near, my perception of space begins to dissolve, and a new interest takes over that is primarily emotional, and with it comes a desire to touch, which may be a human intere...
I could never just play in a pub in front of four people because I would have had all the press turn up. That way, you don't get to build up naturally. It makes the work feel unnatural, and puts a lot of unnatural pressure on you.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
Most electronic equipment uses the principle of amplification. You need filters, modulators and mixing equipment which have gain stages. By piling these components up, I was able to work without any sound generators and I made several pieces in that ...
Whenever I release a record, it's my record. It's not a selfish thought. I may work all year 'round for other people. So, finally, when I come out with my own album, it should be me with the creative help of other musicians.
Some people may say my curved panels look like sails. Well, I am a sailor, so I guess I probably do use that metaphor in my work - though not consciously.
For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Be...
There was a second problem that was still not a technical problem... the project became classified. I couldn't work on it after having gone to all that trouble. I was considered a security risk, so I could not get a clearance.
You have 'listeners' ears' when you're just starting out, and your 'listeners' ears' tell you what will work. You lose those ears later, when you break songs down into production elements too much.
A few days of idleness have completely sickened me, and given me what is called the blue-devils so severely, that I feel that the sooner I go to work and drive them off, the better.
I just really want to continue on the same intensity of work ethic, I don't want to slow now. I'm 21-year's old and I feel like this era and a few years to come are my prime years, so I want to utilise them.
I'd been doing projects outdoors for the public. I made pigeons eat geometry by putting bread out in rhomboids and triangles. I don't know if this activity made sense, but the work was available.
At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
When you have an idea for a work and when you've finished your model for it, for the artist it's almost complete, in a way. But then bringing it to the finish is really something you do for the audience. It is always exciting.
When you're on tour, you're trying to get the crowd involved and really sing and perform to them. When you're going to write and be in the studio, it's like, 'Now I have to think about me.' That's the mind-set you have to work with.
The dripping... well, if it happens, it happens; it does not take anything from the work. The dripping just proves that you were not trying to control the work, but the work was developing by itself and if it drips, it's a natural part in the evoluti...
The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film...
After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work ...
My own image of my work is that I no sooner settle into something than a break occurs. These breaks are always painful and depressing but despite them I see that there's a consistency that holds out, but is hard to define.
