When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.
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I can't usually sleep if I'm listening to music. It seems to fire up my mind, and I keep engaging with it to see what it's doing.
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It's true that many of the best-known composers were German or Austrian, but we should remember how good the music tradition is in Britain, too, because it has an informality and a fluidity that should really be celebrated.
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It's a liminal thing, humming, And I'm always interested in liminal things.
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The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
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In Germany, people feel like they own classical music, that it is somehow theirs. Over there, everyone still learns to play, and the great composers don't seem alien.
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I was living in a suburban town north of London, dutifully practicing my Mozart sonatas. And the milkman who delivered the milk in the mornings was kind of milkman by day, composer-artist by night.
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When you make a piece, one of the interesting things is hearing what other people think about it.
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'Sleep' is a project I've been thinking about for many years. It just seems like society has been moving more and more in a direction where we needed it. Our psychological space is being increasingly populated by data. And we expend an enormous amount of energy curating data.