But I think Barry Sonnenfeld let his ego go out of control. He told me in a meeting that he had to do something to make it his film.

I'm disappointed. I don't care about Will Smith, I don't want to.

I'm satisfied it's very black, meaning 'in the black'.

Oh, that character was light years away from me. I'm not debonair. I'm not suave. I did wear tight pants, though, because I found out that it worked.

There's a gray area there that I'm satisfied is not gray.

Well, Barry, it's your film. So if it rises or falls, you're the man.

Will Smith is young, he's cool and my kids have his CDs.

You know, this whole thing about Ricky Martin, and how successful that young man is. He's 27, I was 29.

You name it, we had it. It won't happen again. You're not going to duplicate this show.

It was just so elaborate and so luxurious. We had every gadget imaginable. You know, I had the little gun that came out, and I had the little gun in the heel of the shoe.

As soon as Young read my statements and saw clearly what I was saying, he stopped communicating with me.

I've talked with John Cale for two decades about what to do about La Monte, and how to get copies of our work.

But picketing - picketing for or against something, and handing out literature - these are conspicuously formal actions. They have to be understood as indirect communication.

People aren't used to thinking of cultural forms spreading out across the full range of formal interactions - or what is called the 'text' in literary terms.

That kind of piece, perhaps most recognizable because of Yoko Ono's similar work, built a bridge between performance art and music - and without raising any awkward social issues.

The message here was not about indeterminacy, nor about immediacy, but about the control of sounds right there in your environment, and the process of composition as long-term growth of interests within that sound complex.