Max Richter Quotes

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'Spring One' probably has only four bars of Vivaldi in it, but it feels like it's all Vivaldi. It's odd. It's a bit like walking around a sculpture, you just sort of see it from a different angle.

I assumed no one would ever listen to my music, and for quite a lot of years, I was right.

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When you make a piece, one of the interesting things is hearing what other people think about it.

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...

I think, as human beings, we all have a fundamental mode, a basic way of relating to the rest of reality, and for me, it's always instinctively been about sound making and trying to extract information, grammar, meaning from sound...

It feels like when novelists say they find their characters are doing things they never thought they'd do, the material comes alive, and that's how I feel making music.

Sleeping and being asleep is one of my favorite activities. Really, what I wanted to do is provide a landscape or a musical place where people could fall asleep.

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...

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...

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.

Often, especially young artists, you feel like you should be doing something. And I think that can be very destructive because creativity is about connecting with the stuff that's deep inside you and making something out of that.

In Germany, people feel like they own classical music, that it is somehow theirs. Over there, everyone still learns to play, and the great composers don't seem alien.

It's true that many of the best-known composers were German or Austrian, but we should remember how good the music tradition is in Britain, too, because it has an informality and a fluidity that should really be celebrated.

You can get away with a lot more in a film or television score. It is contextual.

All music is just a collision of sounds until you know its internal conventions and understand the nuances. It's a question of familiarity.

I can't usually sleep if I'm listening to music. It seems to fire up my mind, and I keep engaging with it to see what it's doing.

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