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

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.

The mentality we have in India is not very sporting.

'Oh, the Places You'll Go!,' by Dr. Seuss, is still one of my favorite books ever.

I was a goth girl in high school. Perhaps the powdered white face and the black lipstick were not the most attractive. I felt fabulous at the time but looking back, uh, probably not the best idea.

When I created Buffy, I wanted to create a female icon, but I also wanted to be very careful to surround her with men that not only have no problem with the idea of a female leader, but were in fact engaged and even attracted to the idea.

I feel like reading really defined me as a writer because I lived my life outside of my own body for so much of my life and I loved it. I've always been a reader. I think living all those stories served me to naturally take that next step to creating.

Most people generalize whatever they did, and say that was the strategy that made it work.

In 1908, there was a persuasive demonstration of the power of high-speed, low-mass asteroids in rural Siberia. The Tunguska impactor iced millions of pine trees and about a zillion mosquitoes - and was no larger than an office building.

We rarely sue anyone, but, like others in the real estate industry, we get sued.

We're so busy watching out for what's just ahead of us that we don't take time to enjoy where we are.

Debts and lies are generally mixed together.

Hey, I used to eat at McDonald's: I liked the taste of the food, especially the French fries.

When you put the subjectivity of the art together with the context of the science, you have this very powerful conjunction of opposites and together they are greater than either one could ever be.

There are some teams and logos you see, no matter where you are in the world, and you know exactly who they are and what they mean.

There is something that is much more scarce, something finer far, something rarer than ability. It is the ability to recognize ability.

A lot of the roads bridges railways and such are built through the use of forced labor and that is causing the people great suffering. What we put into this in the form of human suffering is not worth what comes out of it.

When there's a pattern of mistakes, something has got to change.

Bad news travels fast

I'm so grateful that anyone has connected with my songs, let alone millions of people.

No matter what time it is, wake me, even if it's in the middle of a Cabinet meeting.

Even under normal conditions, how we can distinguish various events, various experiences, and be able to reproduce it later is, of course, a very interesting question and, I think, one that we face in day to day life.

It's a very confusing experience living as a woman in Japan. If your husband is white-collar, the wife is blue. Even if you marry a person of status, the wife inevitably remains a rung below.

I really do hate to sing.

NASA should not be developing its own proprietary version of capabilities it could purchase commercially at much lower cost, especially when we know the agency's bureaucratic tendencies will be to view the commercial versions as competitors to kill.