:09:02
both because of their depth
and because they were fun.
:09:05
So this slightly bizarre manner
which was the first thing you caught...
:09:11
and which lasted for that brief instant
of the first meeting and then was over--
:09:17
This disappeared very quickly to make
way for the real man that he was...
:09:24
who was not trying to shock others.
He was just trying to express himself.
:09:38
Mr. Gould to begin let me ask straight
out: Are there any off-limit areas?
:09:45
l certainly can't think of any
apart from music of course.
:09:48
Well Mr. Gould
l don't want to go back on my word.
:09:50
Your participation in this interview
was never contractually confirmed...
:09:54
but l assumed we'd spend the bulk of
the interview on music-related matters.
:09:58
Do you think it's essential?
:10:00
l mean my own personal philosophy
of interviewing--
:10:03
and l've done quite a bit of it
on the air as perhaps you know--
:10:06
is that the most illuminating
disclosures usually derive from areas...
:10:10
only indirectly related
to the interviewee's line of work.
:10:12
- For example?
- ln preparing radio documentaries...
:10:16
l've interviewed a theologian
about technology...
:10:19
a surveyor about William James...
:10:21
and a housewife about acquisitiveness
in the art market.
:10:24
But surely you've interviewed
musicians about music.
:10:26
Well yes l have on occasion but only
to put them at ease with the mike.
:10:31
But it's been far more instructive
to talk with Leopold Stokowski...
:10:35
about the prospect for interplanetary
travel which is l'm sure you'll agree--
:10:39
Let me ask this: ls there a subject
you'd particularly like to discuss?
:10:43
What about native rights in Alaska?
:10:46
Well l must confess l had a rather
more conventional line of attack...
:10:50
so to speak in mind Mr. Gould.
:10:52
As l'm sure you're aware the virtually
obligatory question about your career...
:10:57
is the controversy you created by giving
up live concert performance at age 3 2...