Stravinsky has been widely characterized as enigmatic, a composer whose stylistic transformations were impossible to anticipate. He cultivated this image, not in a disingenuous way, but because his eccentricity was central to his self-definition.
More than any composer of 20th-century art music, Stravinsky was able to make the leap from a rarefied intellectual world to the status of a pop icon, widely respected by people who largely did not understand his music. He needed to be public, accepted, and popular, and a surprisingly large proportion of his archival documents reflects his efforts toward these goals.
Television producers in Europe and North America found in Stravinsky the ideal nonconformist film icon: droll, quirky, conversational, contentious, and pedestaled as the epitome of the rebellious hero. He was drawn to them as well, as a natural performer who needed and commanded the spotlight.
This according to “Truths and illusions: Rethinking what we know” and “Film documentaries: The composer on and off camera” by Charles M. Joseph, two essays included in Stravinsky inside out (New Haven: Yale University Press, 2001, pp. 1–34 and 162–195, respectively).
Below, the composer works the camera with some of his favorite things to say about Le sacre du printemps.