“Certainly, Feldman had the more Brandoesque demeanor,” Duvall says. “But it’s hard to make the case–”
“I disagree,” says C.P. “It’s not hard at all, and… Harrison, are you listening?”
But Harrison’s daydreaming–daydreaming about listening, in fact. He’s partitioned in his mind the sets of sounds his ears sense, those he actually hears and those he’ll remember. They’re fairly disparate, after all. What if you overlaid them? Would they be too close–not quite one wavelength off–so you’d end up with feedback? Or would the differences in timing and tone be enough to make harmony, rhythm, melody, music?