But when you get a bit older, and I hate to use the word, quite a bit more established, people take more notice and conducting becomes a great deal easier. You don't have battles like you had before.

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.

An audience shouldn't listen with complacency.

If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.

I know what I want at least, and the older I get I think I'm better at getting it out of players and singers.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

The establishment in Britain is certainly against the arts and against education. If something doesn't make a profit, it's invalid, and art doesn't make a profit in that sense.

The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.

I'm not actually teaching any more, but I am writing pieces for schools all the time, and for kids.

But you can't really know your audiences so well.

I'm very interested, for instance, in music in education - getting young people not only to listen to, but participate in the music that I write. I consider this one of the most vital aspects of my work.

What they can expect always is that they're going to be made to think.

But when you get a bit older, and I hate to use the word, quite a bit more established, people take more notice and conducting becomes a great deal easier. You don't have battles like you had before.

If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.

Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.

You don't underestimate either players or audience in any circumstances.

You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.

If you dont get feedback from your performers and your audience youre going to be working in a vacuum.

I hate wasting people's time.

I hate failure and that divorce was a Number One failure in my eyes. It was the worst period of my life. Neither Desi nor I have been the same since, physically or mentally.

You either love or you hate. You live in the middle, you get nothing.

I used to smoke two packs a day and I just hate being a nonsmoker... but I will never consider myself a nonsmoker because I always find smokers the most interesting people at the table.

I hate the crazy, neurotic characters beyond a certain point.

I hate Stanley Clark, but I have to admit he's playing Jazz whether I like it or not.

In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.

In a war, you must hate somebody or love somebody; you must have a position or you cannot stand what goes on.

Listen kid, take my advice, never hate a song that has sold half a million copies.

The man of knowledge must be able not only to love his enemies but also to hate his friends.

The high point of civilization is that you can hate me and I can hate you but we develop an etiquette that allows us to deal with each other because if we acted solely upon our impulse we'd probably go to war.

I hate leaving home. I love what I do, but I'd love to go home every night.

I hate it when people talk about Buffy as being campy... I hate camp, I don't enjoy dumb TV. I believe Aaron Spelling has single-handedly lowered SAT scores.

When people say 'love to hate', they actually mean 'love to be appalled by' - if they truly hated them, they'd never repeat a catch phrase.

I hate getting bored.

Don't hate the media, become the media.

The middlebrow, I hate.

If a university official's letter accusing a speaker of having a proclivity to commit speech crimes before she's given the speech - which then leads to Facebook postings demanding that Ann Coulter be hurt, a massive riot and a police-ordered cancellation of the speech - is not hate speech, then there is no such thing as hate speech.

We must make it clear that a platform of 'I hate gay men and women' is not a way to become president of the United States.

I'm like an old dog, I hate to be run off from home.

You've got to be taught to hate and fear.

Be grateful for luck. Pay the thunder no mind - listen to the birds. And don't hate nobody.

Don't hate the word, playa; hate the dictionary.

Pick a theme and work it to exhaustion... the subject must be something you truly love or truly hate.

The correlative to loving our neighbors as ourselves is hating ourselves as we hate our neighbors.

I hate artists who are not of their time.

You don't only worry about the people who hate or resent you; in a way, you're more worried about the people who love you.