Max Richter

But I don't think it's been done.

But I don't think it's been done.

There's kind of no one way, honestly. I mean, I guess this goes back to childhood, really, for me. I've always had just music going around in my head. When I was a tiny kid, I thought everyone always had music going around in their head. Later on, I was like, no, this is not happening to everybody. So I've always got sort of just little fragments, things bubbling away.

There's kind of no one way, honestly. I mean, I guess this goes back to childhood, really, for me. I've always had just music going around in my head. When I was a tiny kid, I thought everyone always had music going around in their head. Later on, I was like, no, this is not happening to everybody. So I've always got sort of just little fragments, things bubbling away.

I'm, you know, if I have a project, a specific thing to do, then it's partly just, I guess, trying to assemble little atoms into something and seeing which things stick together and how they interrelate and then you can build structures. It's like, in a way, it's like any kind of process, you know, it's like,

I'm, you know, if I have a project, a specific thing to do, then it's partly just, I guess, trying to assemble little atoms into something and seeing which things stick together and how they interrelate and then you can build structures. It's like, in a way, it's like any kind of process, you know, it's like,

macro and micro in parallel um i guess the big thing that i really uh and and i think probably most creative people have this that i really love is when the material starts to feel like it has a kind of intentionality you know things things start to sort of happen in the material um And that's then very exciting. Then it's about following that material kind of where it wants to go.

macro and micro in parallel um i guess the big thing that i really uh and and i think probably most creative people have this that i really love is when the material starts to feel like it has a kind of intentionality you know things things start to sort of happen in the material um And that's then very exciting. Then it's about following that material kind of where it wants to go.

And sometimes, actually, it's... it actually sort of goes somewhere outside the project. And you think, oh, no, no, this is a different piece. This is not what I'm doing right now. But okay, you know, you keep going. But it's something else. So there's the writing process is like continuous, basically. And the individual projects have sort of dotted lines around them. But there's actually just

And sometimes, actually, it's... it actually sort of goes somewhere outside the project. And you think, oh, no, no, this is a different piece. This is not what I'm doing right now. But okay, you know, you keep going. But it's something else. So there's the writing process is like continuous, basically. And the individual projects have sort of dotted lines around them. But there's actually just

Yeah, I mean, I think... I mean, in my case, it's sort of both of those. You know, if I, I don't know, if I'm, when I'm making coffee in the morning, I hear something on the radio that I love, you know, it will be sort of there as well. It'll be kind of, you know, it'll be around for a while.

Yeah, I mean, I think... I mean, in my case, it's sort of both of those. You know, if I, I don't know, if I'm, when I'm making coffee in the morning, I hear something on the radio that I love, you know, it will be sort of there as well. It'll be kind of, you know, it'll be around for a while.

It depends. I mean, I do work on paper. So most, you know, the beginning of at some point towards the beginning of a project, there will be a lot of writing on paper. You know, I'm a pianist. I play. That's my sort of sketch pad. So I will also be just trying stuff. But a lot of the time, I'll be sort of playing and writing with that kind of process.

It depends. I mean, I do work on paper. So most, you know, the beginning of at some point towards the beginning of a project, there will be a lot of writing on paper. You know, I'm a pianist. I play. That's my sort of sketch pad. So I will also be just trying stuff. But a lot of the time, I'll be sort of playing and writing with that kind of process.

And then depending on what it is, I will at some point probably get the computer involved, whether that's just, you know, scoring whatever it is I've done, making sort of copies, or if it's something which is, you know, more about sound itself, then maybe working with the synthesizers or the computer in terms of like shaping material. So, yeah.

And then depending on what it is, I will at some point probably get the computer involved, whether that's just, you know, scoring whatever it is I've done, making sort of copies, or if it's something which is, you know, more about sound itself, then maybe working with the synthesizers or the computer in terms of like shaping material. So, yeah.

Definitely, yeah. The finished piece is like a negative map of the things you didn't do with it, right?

Definitely, yeah. The finished piece is like a negative map of the things you didn't do with it, right?

Um, I don't know. I mean, I guess in a way, variation forms in music fill that space a little bit. You know, they do, you know, if you listen to the Goldbergs, you know, you've got 31 different ways to make that journey. Right. You know, and of course there are many more, but that's, that's all you had time for.

Um, I don't know. I mean, I guess in a way, variation forms in music fill that space a little bit. You know, they do, you know, if you listen to the Goldbergs, you know, you've got 31 different ways to make that journey. Right. You know, and of course there are many more, but that's, that's all you had time for.