I would like to be George Clooney diplomatic. I just don't have the wherewithal yet or the inner serenity.
I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.
My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.
Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.
I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
I am more afraid of those who are terrified of the devil than I am of the devil himself.
Your life changes. Everything has to be done perfectly, and I didn't follow that. I lived my life as if I wasn't in the public eye. I thought, 'I'm young. I have the right to experience new things, and if I want to go to a bar and get drunk, that's my prerogative. '
I'd like to see a world where, if a teenager fears she's seeinghearing things, she feels as comfortable seeking help as she would if she found a lump on her leg.
If you've got on the one hand death, dogmatism, domination, and on the other you've got desire in the face of death, dialogue in the face of dogmatism, democracy in the face of domination, then philosophy itself becomes a critical disposition of wrestling with desire in the face of death, wrestling with dialogue in the face of dogmatism, and wrestling with democracy, trying to keep alive a very fragile democratic experiment.