I grew up outside of DC, New York state, and Connecticut.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

And when that's working, the sum can be greater than the parts.

I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.

And I definitely have an affinity with the piano.

For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.

Yes, I was forced to take piano lessons for 8 years as a child.

I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

And I think that I'd be a natural for scoring horror movies.

Also, differences of opinion can be creatively stimulating as well as frustrating.

When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.

In scoring, I usually start with a sound or group of sounds, searching out what feels right.

And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.

But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.

So, through playing with Cop I realized that there is a potentially interested audience out in the world.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

I'm from all over the Northeast.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

But things can happen in a band, or any type of collaboration, that would not otherwise happen.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

If the finest hour is now, then I'll always be in it.

I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

Then I took 8 years of French Horn, first jazz, and then classical.

I grew up outside of DC, New York state, and Connecticut.

Unfortunately, however, I have too many desires to make a good Buddhist.

I'm just like you, only I'm different because I'm me.

With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.

I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.

Let me first state that I believe that marriage is a sacred union between one man and one woman.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

In a very alert and bright state of society people learn co-operation by themselves, but in older and quieter conditions of laboring enterprise, such a bill as I propose will point out the way to mutual exertion.

The state should, I think, be called 'anesthesia.' This signifies insensibility.

No one is more important to the future of our state than our teachers.

But democracy isn't a state of perfection. It has to be improved, and that means constant vigilance.

It's slightly complicated for people to grasp the idea of a head of state in human form.

Similarly, the problem of the rights of the state in the disposition of inheritances left by individuals presents social aspects of the first importance.

The surest way to return to the people's business is to listen to the people themselves: We need to drop this whole scheme of federally controlled health care, start over, and work together on real reforms at the state level that will contain costs and won't leave America trillions of dollars deeper in debt.

An important part of what the state does is preserving its history.

All wars come to an end, at least temporarily. But the authority acquired by the state hangs on; political power never abdicates.

Let's say there are 500 sons and daughters like you in each state. Then we could control the government.

One gets into a strange psychological, almost hypnotic, state of mind while on the firing line which probably prevents the mind's eye from observing and noticing things in a normal way.

The more I do bookstores, the more people come up to me from church groups. I spoke at Pittsburg State College and had 2 or 3 ministers and book groups from a couple of churches.

And, moreover, it is art in its most general and comprehensive form that is here discussed, for the dialogue embraces everything connected with it, from its greatest object, the state, to its least, the embellishment of sensuous existence.

Modern Orthodoxy has a highly positive attitude toward the State of Israel. Our Ultra-Orthodox brethren recognize only the Holy Land, but not the state.

It is obvious that taking the country from a state of war to being a lawful state won't be easy.

I visited the Chinese side last year. The Chinese are in a constant state of military readiness. They have all their nuclear weapons in the area, presumably trained on targets across the border.