When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.

It's kind of not about the quality of the art, as much as this is what I love doing and I'd have a worse time doing anything else. That's kind of as far as I think in terms of philosophy.

I don't mind when people are telling me about their 1971 Firebird, but it's the same thing as people telling me about their car or something. It's fine if you have an interest. By talking with me, though, you could be interviewing a novelist about guitars. It's the same thing, except I don't write that well either.

I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.

I believe there's still room for the dream a lot of people in the industry have - to design and build your own cars.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

I definitely get inspiration from the 'gram. I mean, Instagram is Google, essentially. I love looking at pictures of beautiful women.

It's easier for a kid to have fun and have an imagination.