:55:01
but really wasn't technology
just a reason...
:55:03
or a way for him
to keep the world at arm's length?
:55:05
lt's just a big smoke screen
isn't it?
:55:06
Let me ask you this:
:55:09
What is Glenn Gould really like
when he's not in the studio?
:55:13
l mean what do you like to do when
you're outside of a recording booth?
:55:18
What kind of lifestyle do you lead?
:55:21
Mr. Gould you are a perfectionist
when it comes to recording.
:55:25
So why is it when you are recording
you place little importance...
:55:28
on whether you have a piano with
noisy works or a chair that squeaks?
:55:32
Why when you seem obsessed
with this idea of musical perfection...
:55:35
do you hum as you play?
:55:39
Well--
:55:46
l forgot the question.
:55:48
l mean what aspect of your life...
:55:52
has nothing to do...
:55:54
with-- with-with...
:55:58
anything that has to do with...
:56:01
classical musical music?
:56:04
Years ago you said that you were gonna
leave public performance...
:56:08
because you wanted to compose...
:56:10
and we've waited
and the years have passed...
:56:12
and there's no body of work--
l mean musically speaking--
:56:14
and people are waiting.
:56:20
How do you feel about all that?
:56:23
Would you teach me piano?
:56:25
What about children?
l mean have you thought about that?
:56:28
What do you look for in a woman?
:56:30
Or maybe l should just say
what are you waiting for?
:56:33
One more question if l may
out of curiosity.
:56:36
Why do you insist
on conducting interviews by phone?
:56:39
Mr. Gould you stated that in
our culture there are economic...
:56:42
and social forces at play
which have already rendered...
:56:45
concert halls obsolete.
Furthermore you expected...
:56:47
these halls to disappear
by the year 2000.
:56:49
ln which way does this statement
allow you to look anew...
:56:52
upon the mechanics and the economy
of the music market...
:56:54
and on the subservience of
the artist to this system?