I was also an only child and my father really wanted a son - he's from that generation - it was always about kung-fu theater on Sundays and boxing games on the weekend.
Still, American composers working in France have had a pretty hard time.
There's another way of making music, by touching the lives and feelings of ordinary people.
The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto "virtuosic" in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.
Music history has flowed under the bridges for many years.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
Writing tonal music now, you are not writing into the 19th Century.
You can pour holy oil and holy water on a thug until you have emptied buckets of both; but at the end he will be a consecrated thug, but a thug all the same unless interior intentions and a disciplined man are present.
If you have no intention of loving or being loved, the whole journey is pointless.
The artist is the only lover; he alone has the pure vision of beauty, and love is the vision of the soul when it is permitted to gaze upon immortal beauty.
I think the one that's going to be the hardest to make into a film is the one that's probably going to be made into a film, which is 'The Art of Racing in the Rain. ' I mean, it's narrated by a dog. How do you do that? But hopefully we'll get to see.