Alan Alexander Milne, better known as A. A. Milne, was an author and poet from England, who was particularly famous for being the creator of the character Winnie the Pooh. Milne was educated at the University of Cambridge and initially worked as a playwright; however it was as the writer of Winnie the Pooh in 1926 that he became famous. It was followed up by The House at Pooh Corner two year later. Other than that, he was a prolific writer who wrote children’s short story and poetry collections, newspaper columns, plays and had also been a columnist for the popular magazine Punch.
Sleep is probably my favorite activity. I wrote this piece out of gratitude that I'm able to sleep well as an offering to people who don't.
It's a liminal thing, humming, And I'm always interested in liminal things.
Traditional methods for falling asleep work. Non-taxing, repetitive mental tasks have a lulling effect, and I built those patterns into 'Sleep'.
I can't usually sleep if I'm listening to music. It seems to fire up my mind, and I keep engaging with it to see what it's doing.
All music is just a collision of sounds until you know its internal conventions and understand the nuances. It's a question of familiarity.
You can get away with a lot more in a film or television score. It is contextual.
People have written about 'Sleep' as if it were some kind of record attempt, but I could just put repeat marks at the end, and it would be 16 hours. It's not about that.
In Germany, people feel like they own classical music, that it is somehow theirs. Over there, everyone still learns to play, and the great composers don't seem alien.
It's true that many of the best-known composers were German or Austrian, but we should remember how good the music tradition is in Britain, too, because it has an informality and a fluidity that should really be celebrated.
We've all got stories to tell that no one else knows. We've all got this truly unique experience of being. So I would say cultivate that, because then also you're cultivating something which is very natural to you.
I just really try to stay focused on what the material is wanting to do. My basic assumption is that no one will ever listen to it anyway. It's fidelity to the material. That's my contract: It's me and the material. And if it connects with other people, I'm thrilled.
That childhood passion and involvement and being really submerged in something, that's the kind of state I'm looking for all the time - and preserving that sense of magical possibility and wonder that children have. I think, for artists, if you can stay connected to that, then you are in a good place.