: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?
:57:00
Well um--
:57:03
Obsolete.
:57:04
l know.
You left the concert platform.
:57:07
lt's been talked about
it's been explained...
:57:10
all the reasons
but when you think about it...
:57:15
on the day that it happened
it was about fear wasn't it?
:57:19
While you consider this new
cultural order as the emancipation...
:57:23
of the artist it seems in my opinion
that this vision encourages...
:57:27
a techno-hegemony and
the exploitation of the artist...
:57:30
by capitalistic mega-structures
don't you think?
:57:32
l've asked you about your music
l've asked you about your family...
:57:35
l've asked you about your children
what you had for dinner...
:57:37
l've asked you what you do
when you go to a movie.
:57:40
Mr. Gould you've stated...
:57:43
that the concert hall is becoming...
:57:47
more and more
of an economic liability...
:57:50
but that you foresee this problem
rectifying itself by the year 2000.
:57:57
Why?