I am really quite fascinated by echo-locating bats and dolphins and have always wondered how sound affects the unconscious brain.
Your mallet or your stick goes through the instrument, the sound goes out and then wherever the sound goes nobody knows, you know.
I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.
When I was 12, I happened to see a schoolmate playing percussion, and it looked interesting. I asked for lessons, and it felt right.
I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.
The audience plays a huge part in how a piece will actually form. They really allow the performers to walk a tightrope in a way that never seems to happen in the privacy of your own four walls. I'm listening to the audience, and they're listening to me.
The thing about playing percussion is that you can create all these emotions that can be sometimes beautiful, sometimes really ugly, or sometimes sweet, sometimes as big as King Kong and so on. And so there can be a real riot out there, or it can be so refined.
Before my teen years, I was losing my hearing pretty quickly, and I was getting very, very angry. I was beginning to become an angry person because of that.