Conductors are performers.

And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.

It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.

If we are able to get inside the music and inhabit it convincingly enough, it will cause everyone to find each other in this new psychological space. And that's most exciting.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

Being an American musician means being adventurous.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.

The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.

You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.

But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.

I can't do pieces I only admire technically. I have to feel some direct contact with them.

And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated.

Conductors are performers.

But some people will say you just did these programs. Well, yes, the programs are important and I'm proud of the programs, but mostly I'm proud of the way the San Francisco Symphony plays these programs.

Extreme volume in music very often disguises a lack of actually important content.

Earlier in my life, I performed a lot of music. Some of it because I felt it was a demonstration, or a representation of certain intellectual concepts that were very exciting and important.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

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.

But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.

Classical music is an unbroken living tradition that goes back over 1000 years and every one of those years has had something unique and powerful to say to us about what its like to be alive.

Classical music is a wonderful 1200 year old tradition that witnesses everything that it has meant and what it means right now to be human.

But those musics do not address the larger kind of architecture in time that classical music does whatever each one of us knows that classical music must mean.

If youre alive you have all the experience necessary to understand classical music.

And what classical music does best and must always do more is to show this kind of transformation of moods to show a very wide psychological voyage. And I think thats something that we as classical musicians have underestimated.

Every citizen should be a soldier. This was the case with the Greeks and Romans, and must be that of every free state.

I definitely love record stores. And worked in many over the years. Having said that, it's not necessarily that I love vinyl per se. I mean, I'm happy to use CDs and MP3s: to me, it's the music that's top priority. I do have a good collection of vinyl, but I rarely actually pull it out.

I've redone plays of mine and made changes. A play is a living thing, and I'd never say I wouldn't rewrite years later. Tennessee Williams did that all the time, and it's distressing, because I'd like the play to be out there in its finished form.

People who ask confidently get more than those who are hesitant and uncertain. When you've figured out what you want to ask for, do it with certainty, boldness and confidence. Don't be shy or feel intimidated by the experience. You may face some unexpected criticism, but be prepared for it with confidence.

I remember specifically, in the summer of 2002, the rate of women infected with HIV/AIDS was beginning to match the rate of men, and nobody was talking about it. It was as if it was on nobody else's radar. I had made up my mind to do something about it.

You win pennants in the off season when you build your teams with trades and free agents.

I hardly went to school.

Why should women not be a martyr for her cause?

It takes only one child to raze a village.

I feel I'm functioning at some level as a journalist because even though I write fiction, I'm trying to get the world accurate.

I do want to make powerful works of art with people, but I also just want to have fun. I've never done a romantic comedy - I'm sure it would be a blast.

Nothing to do with anything, something to do with everything.

If the universe is running down like a clock, the clock must have been wound up at a date which we could name if we knew it. The world, if it is to have an end in time, must have had a beginning in time.

I have a lot of anxiety about the red carpet. As a woman, it's uncomfortable to be in a position in which people are judging you, looking at what you're wearing, and criticizing you - not necessarily in a negative way.

That city is well fortified which has a wall of men instead of brick.

The number one problem with Dodd-Frank is it's way too complicated, and it cuts back lending, so we want to strip back parts of Dodd-Frank that prevent banks from lending, and that will be the number one priority on the regulatory side.

My family has had to move and change their name and have been subject to threats from right wing blogs calling for my son, for example, to be killed to get at me.

I'll never quit playing country music, or at least acknowledging it, always, as the cornerstone of what I am.

Skepticism is healthy in matters of the intellect, but disastrous in matters of the heart.