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.

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.

I want to have babies one day but not right now. When I do it I want to do it really well. I want it to be my best project in life.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

I have a project at HBO and one at the Family Channel coming that are being looked at. Aside from that I am not doing much more than playing golf and some skiing.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

To think that we as a publisher (i.e. people who have never actually MADE a game) can have a realistic impact on a project that a team of experts is slaving away on full time for 2 years is a bit arrogant.

In the earliest days, this was a project I worked on with great passion because I wanted to solve the Defense Department's problem: it did not want proprietary networking and it didn't want to be confined to a single network technology.

Every book is a new journey. I never felt I was an expert on a subject as I embarked on a project.

Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project.

I think it is important to maintain a sense of self and confidence, not letting either falter for the sake of a particular part or project, no matter how great it might be.

As long as I had easy access to psychedelics at the government-sponsored research project, most of my energy went into psychedelic sessions.

I always listen to a lot of different music when I am working on a project.

For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.

Believing that our greatest need is for the general public to be able to get better information, to have an opportunity to learn better the real issues of the less fortunate, we centered the activities of the Fairness Project on that.

God would have to beam into me what I was doing and what the album actually sounded like because usually when I start a project like that, I already know what the album sounds like before I start it.

The founders of a new colony, whatever Utopia of human virtue and happiness they might originally project, have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison.

It takes half your life before you discover life is a do-it-yourself project.

For the last 30 years our cinemas have been ruled by science fiction and horror. We've had some very good Fantasy films in that time period, but for my tastes I still haven't seen fantasy done to absolute perfection. That is the hope I have in this project.

The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.

Australia as a nation, as a set of cities and some regional centres, that project died a death and we didn't get it up, but I still think there's merit in that.

Adding manpower to a late software project makes it later.

It's a project that touched me as an immigrant and as a New Yorker.

I think my view is that whenever you project into the future you're never likely to be accurate in the details, or the paraphernalia and style.

It is my really sincere desire that we get an opportunity to play long enough for people to really grab on and become fans, because I think it's a great project.