Quotes from Jim Coleman

And when that's working, the sum can be greater than the parts.

And I definitely have an affinity with the piano.

Yes, I was forced to take piano lessons for 8 years as a child.

I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.

But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.

And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.

For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.

So, through playing with Cop I realized that there is a potentially interested audience out in the world.

When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.

And I think that I'd be a natural for scoring horror movies.

I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.

If the finest hour is now, then I'll always be in it.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

Then I took 8 years of French Horn, first jazz, and then classical.

I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.

In scoring, I usually start with a sound or group of sounds, searching out what feels right.

But things can happen in a band, or any type of collaboration, that would not otherwise happen.

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

I grew up outside of DC, New York state, and Connecticut.

Unfortunately, however, I have too many desires to make a good Buddhist.