Every month I look through some ten thousand games, so not as to miss any new ideas and trends.

In this respect, I suppose I'm the total opposite of Garry [Kasparov]. With his very emotive body language at the [chess]board he shows and displays all his emotions. I don't.

Part of my preparation for the World Champion match against Kasparov was to be ready for his off-board tactics. I did not to react to them at all. Once you start thinking about these things during the game, even analysing them, you're caught.

At some point he seemed to lose all confidence trying to break down the Berlin Wall. He was still fighting as only Kasparov can, but I could see it in his eyes that he knew he wasn't going to win one of these games.

The development of beauty in chess never depends on you alone. No matter how much imagination and creativity you invest, you still do not create beauty. Your opponent must react at the same highest level.

My very first book was a games collection of Anatoly Karpov. On the whole I was attracted by positonal play with some tactics, and already then I was aiming for universality.

Every top player has his own style, just as every painter has his own personal signature.