I went to Ethiopia, and it dawned on me that you can tell a starving, malnourished person because they've got a bloated belly and a bald head. And I realized that if you come through any American airport and see businessmen running through with bloated bellies and bald heads, that's malnutrition, too.
I recently had a few days off while shooting a movie in Budapest, so I took a cab from the set to the airport, looked at the departure board, and decided where I wanted to go right then and there. I spent four days in Rome and didn't tell anyone I was going.
There's parts of touring I like. I like the actual performance part, but the bit when you're in the airport waiting at the carousel for your bags to come around, I don't like that a bit.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
But for every hour and a half on stage, you have a five hour long bus ride, waiting for five hours at the airport, five hours of interviews... I know, it's part of the job, but that doesn't imply I have to like it.
Nobody gets excited when they see me. If I put on my wizard outfit and walk around the airport for a couple of hours, I get a couple of puzzled glances.
You know what I've always wanted to do? I've always wanted to put a lung in a suitcase and send it through an airport security check. In effect, the guard would be looking at an X-ray of a lung.
I want to be a Bond girl. Think about it - I have metal components in my legs, so when I go through airport security, I set off the alarms. But when they realize why I'm beeping, they let me through. What if I had weapons in my legs? I could take one off and pull out an Uzi! Legs Galore - that would be me!
