I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.
I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.
I think I was first to do live performances on a modern electronic sound synthesizer.
I'm thinking in terms of a point of departure, a field of action for performers to express an expressive need of mine which hopefully the context of music would convey.
I've just simply used what I've used because of the great, great expressive potential of it.
We need it to capture the energy of contemporary life.
In other words, I think that if an audience listens to something as an experience of how in tune it is or something of that kind, that the whole point is somehow being missed, and the music has failed.
It's not important to me to found a school; it's not important to me to have disciples.
However, yes, especially as one gets older, you know, you really hope that your music will become more generally available, even though some of the performances might be riddled with faults.