When we go to sleep ordinarily, we're doing something really private. It's kind of an intimate, private connection with our sort of physical humanity.
We've all got stories to tell that no one else knows. We've all got this truly unique experience of being. So I would say cultivate that, because then also you're cultivating something which is very natural to you.
When I got the call about 'Arrival,' I was doubtful because the piece had had a life on cinema already, and we were getting to the point where the original context was sort of lost, and I didn't want that to happen. On the other hand, 'Arrival' itself is a political film because it's about unification and getting beyond boundaries.
That childhood passion and involvement and being really submerged in something, that's the kind of state I'm looking for all the time - and preserving that sense of magical possibility and wonder that children have. I think, for artists, if you can stay connected to that, then you are in a good place.
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.
There's different ways to approach music for sleeping. Things like white noise are functional, like a lullaby. This is more like an inquiry, a question about how music and sleep fit together.
