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.

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.

Roosevelt's magic lay in one facet of his personality: He knew how to take the risk. No other man in public life I knew could so readily take the challenge of the new.

Focusing your life solely on making a buck shows a certain poverty of ambition. It asks too little of yourself. Because it's only when you hitch your wagon to something larger than yourself that you realize your true potential.

Art teaches nothing, except the significance of life.

If it came to saving the life of one priest or sacrificing the life of an entire congregation, the church would save the life of the priest. Which is backwards, of course.

Work is the meat of life, pleasure the dessert.

All literary men are Red Sox fans - to be a Yankee fan in a literate society is to endanger your life.

At the end, the realization is that she had to get to a place in her life where she could drop her guard and make peace with the fact that whether she had a small amount of time, that she had to kind of live it completely through, instead of living by the rules.

You have choices to make about what you do with the rest of your life.

From the standpoint of observation, then, we must regard it as a highly probable hypothesis that the beginnings of the mental life date from as far back as the beginnings of life at large.

I want to have babies one day but not right now. When I do it I want to do it really well. I want it to be my best project in life.

Any judge who allows an adulterer with a live-in girlfriend to terminate the life of his wife should be impeached.

I can assure you, public service is a stimulating, proud and lively enterprise. It is not just a way of life, it is a way to live fully.

The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!

With an eye made quiet by the power of harmony, and the deep power of joy, we see into the life of things.

This isn't life in the fast lane, it's life in the oncoming traffic.

The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life and one is as good as the other.

Sometimes life's so much cooler when you just don't know any better and all the painful lessons have not hammered your head open yet.

My life is so full of surprises, nothing surprises me any more.