A couple of years ago, I came up with the idea for a film that I thought could be interesting, and I took it to a couple of people - nobody professional or anything - but I thought it was kind of cool.

When I was coming up, I practiced all the time because I thought if I didn't I couldn't do my best.

I knew of jazz, but I didn't like it. I always thought only older people liked jazz - you know, you had to be 19 or 20.

When synthesizers came along, it was the first time I thought that the two things I loved, which were science and music, could be put together.

When the suggestion was made that I might consider doing music of Joni Mitchell, I thought it was a fantastic idea. Joni, I admire not only for her music but for her person, because she's a person that really stands out for what she believes in.

Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.