People say my music is English. I don't know what it is. Maybe it's not me writing English music, but that English music is becoming more like me.

The theatre only knows what it's doing next week, not like the opera, where they say: What are we going to do in five years' time? A completely different attitude.

I didn't have a record player.

I wrote music as soon as I knew notation.

It's the irrational things that interest me.

I don't have ideas so much as there are things which constantly evolve... there are various threads or layers, if you like, which change.

Minimalism now is a reaction to what came before. It's absolutely of its time. Music moved into the set theory thing, and moved out of it.

The opera tells the story with all the built-in contradictions and from many different angles.

This sounds horribly pretentious, but I like to think that if music hadn't existed, I could have invented it.

When I was a kid, I wrote music - from the age of 11 until the age of 18.

I don't think there is much American music.

Music is such a problem in the time it takes.

One thing I've tried to do in writing music is take on very basic things, very archetypal things.

I always write the pieces I want to write.

I think music has gone through a period of something very severe, rather radical, rather the way painting did with cubism.

I'm not an architectural composer.

My operas usually come from musical ideas rather than ideas about subject matter.

I'm not a music lover in the sense that I look for something to have on. I've never had that attitude to music.

People say my music is English. I don't know what it is. Maybe it's not me writing English music, but that English music is becoming more like me.

The piece that had a large influence on me was Turangalila.

My attitude to writing is like when you do wallpapering, you remember where all the little bits are that don't meet. And then your friends say: It's terrific!

When I was confronted with official tuition, the academic thing, I could see no relationship whatever between that and the music I'd been writing since I was 11.

When I dealt with set theory, I could never make it be the music that I wanted.

My operas and my theatre works are very formal pieces.

I think there are influences that you open the door to, and influences that come under the door.

The thing about influence is that any composer worth anything will give you the same names.

You either are or you're not.

There are rhythmic ideas which sometimes only work up to a point. In writing there are moments when it just comes off the page, it's not just a collection of notes.

In the end it doesn't matter what you do.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

English football has just had a transfer window imposed for the first time, so it will be interesting to see how managers cope with the squads they have until it re-opens.

Even if you do learn to speak correct English, whom are you going to speak it to?

Sometimes I feel I can't quite master my written and spoken Spanish, because I'm too much a student of English. I would need another lifetime to learn it.

It has since been agreed that speeches given in English will be translated into French and vice versa, and even into German and Italian when necessary. No doubt translations into Esperanto will also soon be in demand.

I'm learning English at the moment. I can say 'Big Ben', 'Hello Rodney', 'Tower Bridge' and 'Loo'.

No people in the world can make you feel so small as the English.

The one great principle of English law is to make business for itself.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

The English people, a lot of them, would not be able to understand a word of spoken Shakespeare. There are people who do and I'm not denying they exist. But it's a far more philistine country than people think.

The English are polite by telling lies. The Americans are polite by telling the truth.

In English we must use adjectives to distinguish the different kinds of love for which the ancients had distinct names.

Although spoken English doesn't obey the rules of written language, a person who doesn't know the rules thoroughly is at a great disadvantage.

We have always found the Irish a bit odd. They refuse to be English.

I think the biggest difficulty is that when I'm here in America, there's a necessity of using English, so I really have a great sense of really wanting to learn, but unfortunately when I head back to Japan, the necessity vanishes and so does my enthusiasm about learning.

The number one secret of being a successful writer is this: marry an English major.

A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.

I can scarcely manage to scribble a tolerable English letter. I know that I am not a scholar, but meantime I am aware that no man living knows better than I do the habits of our birds.

The English can be a very critical, unforgiving people, but criticism can be good. And this is a country that loves comedy.

The true sovereign is not the American president nor the English king, but the Lord of the Second Advent.