Pieces Quotes - Page 56

I love the shape of cars. They are very inspiring as modern pieces of machinery. I can't drive, but I do like the look of them.

And we debate whether it's a - some woman's right to tear you out of there a piece at a time! C'mon! You have a God-given right to live. And of all places, inside your mother - what in the world happened to us?

I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"

I enjoyed Jonathan Franzen's 'Freedom.' Would I make that into a film? I think it's better suited to television. That would very much be a dialogue and performance piece, and it would take some very skilful direction - but not my kind of directing. But I thought it was a real literary work.

It's really exciting. It's really exciting when you do a piece of work, and people like it, and it gets noticed.

To do magic, to do great magic, he has to know himself as a piece of the universe.A piece of the universe?A little piece that has all the rest of it in it. Everything outside of him is also inside of him.

I cannot, in my old age, live off pieces of my youth.

I cook croquetas, and I eat jamon. I keep my diet 100% Mediterranean and drink my Rioja. In that sense, I have a piece of Spain in West Hollywood.

My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.

Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

Television as we have it isn't an art form - it's a piece of furniture that is good for a few things.

I wanted to make a record that sounded like a continous piece

Every movie is a commitment of a year or a year and a half. Commercials are much faster than that because they're much more contained. You can get in and out really fast, and you do a piece of work the you see the end result very quickly.

I'm just happy when directors make a movie that is really sentimental but without being maudlin or saccharine or too much like Chewels gum. I don't want to be involved in a movie that's too much like a piece of Chewels.

Sometimes when you write a thing you think, 'Oh, this is good', and it's not a modesty or an immodesty thing, you just... it's just the same with anything; when you write a piece you just figure, 'Oh yeah, I'm on a roll here. This is good; I'm getting the hang of this'. Some pieces are better than others.

I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.

I wrote a lot of software to do various kinds of special things, and I loved the idea of composing pieces in an electronic studio.

I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.

I came up in the '60s; that was a time when there was a revolution going on in music. Stravinsky had become a twelve-tone composer; even Aaron Copland was writing twelve-tone pieces at that time!

It's always a thrill for me to see new versions of my pieces on YouTube.

I came to what I think of as the critical problem: the aging process of a piece of music. I noticed in the '70s that pieces I wrote would sound great the first time I listened to them and then on repeated hearings they sounded older and older until what seemed exciting and vibrant on first listening became stale.

There are, however, composers whose music can only be heard in a chromatic sense. George Perle, for example, wrote pieces that you might think of as leaning in a tonal direction but it's very hard to register a pitch as, say, the sixth degree of a scale, whereas in much of my music I think that's often relatively easy to do.

Very often, when you're listening to a piece for the first time, you're listening through a model of other pieces that you know. At a certain point, a piece becomes idiosyncratic and you start to understand it on its own terms.

I found myself recycling ideas and I saw that I had to invent reasons to compose a piece rather than start from some exciting idea.

Considering the amount of work I put into each piece, the amount I need to make from it is pretty high. I won't sell for less... but that means I rarely sell.