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

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.

Similarly you can make a transition from one set of instruments to another imperceptibly.

People like Arvo Part would not have been taken seriously 20 years ago.

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

It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.