Yes, I'm a musician. I also like to play with others, sometimes more, sometimes less.

Most of today's music is done electronically.

How did this or that change my music? The only time I have to think about it is when an interviewer asks me that.

As everyone else, I was a fan of Pink Floyd in the sixties.

We are all part of a tradition, at least we depend on the past.

Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.

When I came back I had to realize that IC was not in a very good shape - all the much money that we had because of the huge Ideal success, was gone. I was very upset.

Everything changes permantly. How boring if it wouldn't.

I did not start IC and Inteam to have control over my music. I had control before and after.

Sometimes I like to make music together with a singer or with singers.

Because, also the world of showbiz is not just black and white, good and bad.

Manuel is still today a good friend. The others I see rarely, but with Edgar I phone from time to time.

As always in a musical collaboration: One has to like each other. As simple as that.

I listened to the rock music of that time, but as you know and can easily hear: my music of that era had nothing to do with the common music of this era. I was experimenting, I was searching for something new.

The human voice is the first and most natural musical instrument, also the most emotional.

And of course, the musician - if he's serious - always answers: My last album is my best, otherwise I wouldn't have done it.

Every music - except dance music, which is for dancing, I suppose - is for the spirit of the human being, and not for the body.

Yes, I'm a musician. I also like to play with others, sometimes more, sometimes less.

Yes, sampling has changed not just my way of playing and composing.

I had to realize that the use of samples has its rules, too.

I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.

My interest in his new toy, the Theremin, isn't very big. It simply does not fit into my way of playing music. I do not want to fiddle around with my hands in the air.

The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.

Then, in 1983 I went on a very long concert tour all over Europe.

A concert is a concert is a concert is a concert. An album is an album is an album is an album. Musically, both have nothing in common.

A concert is a concert is a concert is a concert. An album is an album is an album is an album. Musically both have nothing in common.

We are all part of a tradition at least we depend on the past.

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.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

I'll play it and tell you what it is later.