I think there has never ever been a career like John Williams'. That whole 'Jaws' phenomenon - there's nobody that knows how to use music like Spielberg, and John is just the perfect analog to Spielberg.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

I'm not very interested in pops concerts. I'm interested in special events.

The Spirit is a kind of postmodern loner hero. He comes from nowhere; he has no real relationship to anything.

Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

I think I'm no different from any artist in music. At least once, you want to see your name up on the top.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.