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

I know that John Adams has had a very hard time directing French ensembles.

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

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

Craft is part of the creative process.

The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto "virtuosic" in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.

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.