Max Richter Quotes
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We're living in our neoliberal, sort of late-stage capitalist culture where human beings are really like objects of production and consumption. We're on our screens all the time; we're kind of being sold at all the time.
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We tend to think that when we're awake, we're on, and when we're sleeping our mind is off, but actually, we're not off. There's a lot going on!
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'Memoryhouse' came out, and there wasn't a single review and zero sales, and after about a year, it was deleted. So I recorded The 'Blue Notebooks' on a little indie label, and my attitude was, 'Well, if nobody is listening, I might as well keep doing what I'm doing'.
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You can get away with a lot more in a film or television score. It is contextual.
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When I was a kid, there were really only two possible futures in the foreground, which were Orwell's '1984' and Huxley's 'Brave New World'.
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I just really try to stay focused on what the material is wanting to do. My basic assumption is that no one will ever listen to it anyway. It's fidelity to the material. That's my contract: It's me and the material. And if it connects with other people, I'm thrilled.
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Traditional methods for falling asleep work. Non-taxing, repetitive mental tasks have a lulling effect, and I built those patterns into 'Sleep'.
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People have written about 'Sleep' as if it were some kind of record attempt, but I could just put repeat marks at the end, and it would be 16 hours. It's not about that.
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When you make a piece, one of the interesting things is hearing what other people think about it.
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I don't have synesthesia, but I think when music is really intense, it's almost like it's more than just hearing. If you're at a gig, and there's just something amazing going on, it's not really just hearing: it's more of a total body sense, isn't it? You get transported, and all your senses kind of join up.
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When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.
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It's a liminal thing, humming, And I'm always interested in liminal things.
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All music is just a collision of sounds until you know its internal conventions and understand the nuances. It's a question of familiarity.
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I'm suspicious of the idea of categories in music and this idea of things being in boxes. To me, that seems unnatural. I write the music that somebody with my biography would write, and the thing that's always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.