We felt if we didn't have new material in us and we didn't have a real reason to exist, then we probably wouldn't have done an 80's revival thing. We are very conscious about the fact that's what we are as a bunch of people. ↗
When you have such a huge past, a big background as we have, you can play off that - a lot of people do. But we felt we wouldn't have a legitimate future unless we put something new together. ↗
I guess when we were up against it, we knew this album was going to be compared to all the classic early material, because it was going back to the original five. ↗
It's very hard to find critics or a magazine today that will publish material that is genuinely independent and written without any concern about being cut off some distributor's list or not be invited or flown into screenings. ↗
I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them. ↗
I still audition a lot and work really hard to get work. So I don't really walk around feeling like I've made it. My short term goals are really just to be creatively stimulated and to be excited about material I might be working on. ↗
I want to see if the player communicates with his teammates and how he responds to coaching. Another thing to remember is players' bodies can develop better than their skills. ↗
And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated. ↗
