Paul [ Burwell] and I had also got interested in making books. We'd been working with Bob Cobbing, the sound poet, since the beginning of the 70s, and Bob had this press called Writers Forum.
I had ideas about music and sound and listening and time and so on that I wanted to pursue as an individual, and by doing that book, Brian [Eno] opened the door, and he decided to do a record based loosely on the book.
I'd just written the book Ocean Of Sound, and this terrible thing happened in my life: my wife committed suicide. I was a single parent because of that; I was completely shattered. I had a book that I'd just finished that had been produced through a really, really terrible period, but I had managed to finish it.
I remember I did quite a lot of interviews when the book and the CD came out, and I did a drivetime interview for Radio London or something. You wouldn't immediately associate the music on Ocean Of Sound with drivetime radio, but people found things that they liked, and the DJ was playing some records at 5 o'clock in the afternoon on a weekday.The man who was playing them said to me, "That Peter Brotzmann track, it's like having your head boiled in acid."
I'd been listening to African-American music since the first record I ever bought, which was by Sam Cooke. And it sounds more like my private thoughts that I never thought I would be able to articulate - I never thought I would be able to express publicly.
One of the nicest things is that I still get, very ambiguously, people saying to me, "Oh, I'm just reading your book." And I say, "Which one, for God's sake, I've done six now!" "Oceans of Sound".
I am an audiophile. It's almost like a virus. I'm completely crazy about the quality of sound. It's interesting and painful at the same time; you have to really spend a lot of money on the equipment.
In New York there used to be some very good clubs with amazing sound systems. Techno was part of the process.
If I go to a nightclub, even if the music is good, if the sound system is not, I don't stay.
Pardon me, not to sound elitist, but I wanted to put something together that I would enjoy. I thought at that time, what satiated me, what interested me, what intrigued me, I thought other people would like also. And you blend that with some forward thinking of predicting the UFC and MMA were going to be ultimately as big as it became.
I feel that the term "new age" is used by basically hostile media to diminish and marginalize a conversation that is very significant. It's held in place by journalists who are constantly looking for hooks and sound bites to keep them from having to make the effort of a deeper understanding and a more profound level of communication with the public.
I wanted to get more serialized. I had this idea for an event that would click onto everybody's mortality. I said, "I want somebody to die." Fortunately for me, when I was toying with that idea, John Landgraf, who's the head of FX but also a very smart executive, came up with the idea of the ashes in the maracas. He called me up and said, "Listen, what about this, they get the ashes in a box and when they get them, they shake them and they sound like maracas." And I was like, "Okay, now I've got my throughline."
There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are "like" someone in love sounds right.
The unifying thread through all these different aspects of music business is just my attraction toward working with sounds and designing new scary, evil, dark sounds.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."
My love of classical hit pretty early. I was 13 when it occurred, and that was really the only music I listened to for many, many years. I went to a conservatory, but I always knew I would be in the pop world, because A) it was more fun and B) you didn't have to practice as much and you could go out more. But I immediately saw this opportunity to inject my material with these sounds that most members of my generation really didn't know about, so it was a great way to differentiate myself from the pack.
Sound is one of the best most powerful tools. All the ancient traditions confirm that in the beginning was the word. Sound sort of predates form.
Sound is a subtle form of speech and then more subtle than sound is silence and that's like the realm of being.
I am raising my children with the Christian faith and life lessons I was taught. I am equipping them with all of the information and guidance as a parent and hope they will make sound decisions. The most important thing is to teach kids to stand firm in what they believe and not be swayed by detractors no matter what the subject matter.
DJ culture is all about collage - sampling, splicing, dicing - everything is part of the mix, and there are no boundaries between sound sources. When you apply the same logic to the environment, there's a lot of room for mapping sampling techniques to the environment itself.
When we give of ourselves, our time, and our money, we're also giving up control. As a control freak myself, I know that sounds scary, but I've learned that the momentary lack of control forces me to look at what I do have and truly count my blessings. I have clean drinking water. I have food on my table. I have a roof over my head and clothes on my back. Suddenly, my panic-stricken mindset is replaced with gratitude.
I think that the only way that you're going to succeed anywhere is to fail, as crazy as that sounds. It's the only way. You have to fail your way up.
I don't have enough knowledge or wisdom to say anything profound to people all over the world. But maybe a simple "I love you," as corny as it may sound, shows them that I am willing to be compassionate, generous, and peaceful with them.
I know it sounds earnest, but I do really feel in my bones that acting is just a small part of the equation when you are making a movie. The director really is in charge. Actors are as important or unimportant as the rest of the people around them.
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