Jim Coleman quotes:

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

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.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.

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

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.

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.

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

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

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

Also, differences of opinion can be creatively stimulating as well as frustrating.

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.

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

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

I'm just like you, only I'm different because I'm me.

I'm from all over the Northeast.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

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.

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

With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood."