When an artist works today or whenever, it's not about creating immortal masterpieces, because that's the one thing we don't decide ourselves.

In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been.

We're not talking about an elite art form from the price point of view. We have a building in L.A. that is incredibly open, exciting, inviting, and all that, and there's no reason for this music not to be part of everybody's everyday life.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

Of course, if you think of a European or American household in the '50s, so what were the things that when people started climbing up the ladder, what did they buy? A fridge, a TV, I think piano was the number three item in say '53 or '54.

The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.

Every orchestra I know, every opera house I know, is desperately looking around trying to find new talent, new composing talent, supporting young composers, supporting new ideas, supporting new ways of getting the message across.