One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

I work very fast, keeping the ideas flowing but making sure they come out the way I intended.

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.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

Still, American composers working in France have had a pretty hard time.

I am writing something which I find satisfying and which I am prepared to put my name to as a composer.

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.