It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.

Craft is part of the creative process.

Over the years I have tried to develop something which is technically assured.

The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.

It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.

I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

Music history has flowed under the bridges for many years.

I know that John Adams has had a very hard time directing French ensembles.

It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

Somehow in the 20th Century an idea has developed that music is an activity or skill which is not comprehensible to the man in the street. This is an arrogant assertion and not necessarily a true one.

There's another way of making music, by touching the lives and feelings of ordinary people.

Still, American composers working in France have had a pretty hard time.

The academic area of new music or modern music festivals is not something which attracts me at all.

I am writing something which I find satisfying and which I am prepared to put my name to as a composer.

Similarly you can make a transition from one set of instruments to another imperceptibly.

I currently spend a lot of time thinking about orchestration and every detail of a piece.

People like Arvo Part would not have been taken seriously 20 years ago.

Like an apparently strict musical form it breaks the five minute whole into its structural parts - a descriptive preamble, the action of taking the cards, the development of the cards' manipulation and the revelation of what has been achieved.

When Philip Glass asked me if I would be interested in doing a new recording of Jesus' Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

What was once underground is now coming to the surface.

Writing tonal music now, you are not writing into the 19th Century.

I work very fast, keeping the ideas flowing but making sure they come out the way I intended.

I've heard though that there is a younger generation of tonal French composers who are reacting with vigour.

Some of the best lessons we ever learn are learned from past mistakes. The error of the past is the wisdom and success of the future.

But no, I don't generally have trouble with spelling mistakes.

Lutherans, whose arguments and mistakes will not be difficult to contest or discover, do not want to attribute any value to works, and they do not understand enough the scope of the justification.

If I had to live my life again, I'd make the same mistakes, only sooner.

Like most of those who study history, he (Napoleon III) learned from the mistakes of the past how to make new ones.

In examining the potential of individuals, we must focus on their strengths and not just their mistakes. We cannot be limited by what they may have spilled in the kitchen.

I don't make mistakes. I make prophecies which immediately turn out to be wrong.

We have made mistakes. In our haste to do all things for all people, we did not foresee the full consequences of our actions. And when the people raised their voices, we didn't hear. But our deafness was only a temporary condition, and not an irreversible condition.

The successful man will profit from his mistakes and try again in a different way.

What you really remember at the beginning was that you have to throw a budget together. We made some terrible mistakes at the beginning in my own budget that took us at least a year to catch up on.

Learn from your mistakes and build on your successes.

To make mistakes is human; to stumble is commonplace; to be able to laugh at yourself is maturity.

You're not the only one who's made mistakes, but they're the only things that you can truly call your own.

We didn't make no mistakes. We didn't make no mistakes.

In tennis, you can make a couple of mistakes and still win. Not in golf. I played three rounds in that Tahoe event, and I was drained. Mentally, not physically.

Mistakes are the portals of discovery.

The greatest of all mistakes is to do nothing because you can only do a little. Do what you can.

To swear off making mistakes is very easy. All you have to do is swear off having ideas.

I'd rather not pinpoint my mistakes.

Words will not be able to ever express how sorry I am for this, and I have profound regret and sorrow for the multitude of mistakes and harm I have caused.

You must learn from the mistakes of others. You can't possibly live long enough to make them all yourself.

I'm not a God, I make mistakes.

Once we realize that imperfect understanding is the human condition there is no shame in being wrong, only in failing to correct our mistakes.