• "There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you."
  • "I decided that the University of Sussex in Brighton was a good place for this work because it had a strong tradition in bacterial molecular genetics and an excellent reputation in biology."
  • "When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War."
  • "You are faced with the choice: either my integrity remains intact and this is the work that ends up on the screen, or I have to leave, and I have to be known to have left."
  • "I've experienced a private doubt, something that I've kept deeply inside, and then eventually delivered a piece of work that people responded to with huge enthusiasm."
  • "In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work."
  • "In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor."
  • "You always try to work for your audience, to entertain them, but that being said, obviously, within the studio system you feel the sense of responsibility to the bank."
  • "The artist belongs to his work, not the work to the artist."
  • "Harry Cohn did not make me. But I also feel that I probably didn't make me, either. I think it was a combination. I think that's what made it work."