My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.

If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.

I do like Burial; he's so curiously clumsy, you can't help but be moved. It's so un-Hollywood, and the rhythms are so un-danceable.

When I started working on ambient music, my idea was to make music that was more like painting.

I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.

Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.