A Quote by George Benjamin
The London music world isn't a particularly cohesive place. And when I'm composing, I'm not very friendly. I need isolation.
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The best DJs in the world know how to pull in music from all over the place and make it work as a cohesive whole.
This is the World Cup, and you need all the elements in place: a good coach, luck, and a cohesive team unit are fundamental requirements.
As a kid growing up and seeing so much strife taking place in society, and particularly on Blacks and people of color, I had an opportunity as a young man to witness the change that was taking place in Harlem, the exodus of white folks leaving Harlem, which I thought was a very cohesive situation. But they felt that they needed to leave.
To make the world a friendly place, one must show it a friendly face.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
Composing demands a degree of isolation.
I need to study more. I need to educate myself more - and not just in music, in everything - but especially in music and composing.
Prayer for the city is important. For every city in the world, the city should be prayed for. Particularly for London, it is a strategic city for the UK as well as the world, therefore the future of London is significant to the UK, and also the rest of the world.
I used to live in a little city by the sea, and the feeling of isolation - it was not like living in Paris or London. It was a bit apart from the main city, and [it gave me] this feeling of isolation and also being close to nature, with nature as a surrounding and also a frontier, from the society of the world.
London thrives because it is one of the most open cities in the world, but Brexit is shutting the door on talented people coming to live and work here - the people we need when we get sick, the ones we see on the Tube, our friends and neighbours. Even worse, it has made London a less tolerant place.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
Finally, ultimately, you write music for yourself. I mean, I need a public, I need people to play, I need everything else. I'm not working in isolation. But finally the man that writes the music is alone. And I have to respond to those criteria which are almost like inner needs or inner responses.
When you are not feeling particularly friendly but know you ought to be, the best thing you can do, very often, is to put on a friendly manner and behave as if you were a nicer person than you actually are. And in a few minutes, as we have all noticed, you will be really feeling friendlier than you were.
London is my favorite place in the world. I love London. I think it has the best of L.A. and New York in one, and I have a really great friend there.
I began composing works which were imitative of the music I was being told about. I was also very interested in translating the music into visual terms.
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