I will never master this craft. Orchestras are very, very forthcoming with me.

I am not a long-run actor. I admire actors who can do that.

I'd forgotten I'd done the anime called Spirited Away, the English version of a Japanese film.

High school music teachers... nobody makes a living off it.

Very often when I go in to meet for movies or pilots, I'm put on videotape. I hate the notion that that tape is going to sit on a shelf and never get better.

Kids now are so used to surround sound and the power in theater speakers, that the concert hall is a disappointment to them.

I've played Lear three times, I would love to do it again.

Something happens to us all when we experience something as a unit that doesn't occur when we're on our couches or holding our little portable DVD players.

Every time I hear, Cut. Print, something cold and electrical goes off in my head, because I'm never going to change that film.

It's rare to be treated like a friend you haven't met in a Hollywood meeting.

It's really important to stay engaged and involved in the character.

You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.

I will never master this craft. Orchestras are very, very forthcoming with me.

If it's right and true, it's listened to and accommodated.

Family means no one gets left behind or forgotten.

Because I don't take money, I'll go anywhere and do a benefit concert with almost any orchestra.

People are nice enough, but you can hear the giant tick of the second hand. People are so harried.

I love pulling people into concert halls who might not otherwise go and getting their ears tuned.

What we have to get clear to kids is that when you offer your stillness and open yourself to the experience of music, it pays you back more than you give.

A lot affects the outcome. It boils down to scheduling and the commitment of the network.

Very often, I don't make it through moments of recording because it is genuinely funny and absolutely ridiculous that a 60-year-old grown man is making these noises.

My father, who died a few years ago, was a good, simple, very honest man. His faith and affection for his family was just unassailable, without question.

Writing is hard work. Generating stories that catch people's attention and holding it are very difficult.

I had a meeting in LA in which they took a really overstuffed hour and a half. It was as close to old Hollywood as I remembered it in the last 20 years.

We lament the speed of our society and the lack of depth and the nature of disposable information.

There are a couple of roles I haven't played that I want to. I would love to play Shiloh.

I am certainly not a mainstream religious man.

In television you go in with this operating system that it is a crapshoot.

When something really extreme happens, you have to find a way to embrace that and include it in how you think about the character. Sometimes it's not easy.

Fun can happen on the interior. Nobody knows about it, but there are fireworks going on inside your spirit when you hear a great orchestra playing great music.

The ebulliently sharp mind of 'White Christmas' director Walter Bobbie made me tremble and strive in the same breath. The deceptively 'simple' dialogue of David Ives, asking every actor to just. say. it. Float it on the breeze; it doesn't need 'explanation,' just energy and truth.

I also work with the regular orchestras in Munich, Germany and other similar orchestras.

Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

For many years, the government of Canada has massively supported orchestras and the arts in general.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.

I will never master this craft. Orchestras are very, very forthcoming with me.

Symphonic orchestras have almost become a glut in the market.

I did the one concert, and I was not bitten by the conducting bug, and I thought I was done, but then the phone started to ring, and gradually, over time, I started conducting more and more. Now a third of my performances are with orchestras.

Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.

With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

Ergo, because of the money problem, it is probable that our orchestras will soon go down in quality.

As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.

And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what's going to come next - when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they're thrown away.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.