I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.

Pulse as an active means of expression, Stravinsky and Beethoven are the two masters of that.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.

Once you get over the first hill, there is always a new, higher one lurking, of course.

Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.