When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.
I admire Elliott Carter endlessly. But I have no ambitions to emulate him.
The 'Story of Silent Night', which was given to me one Christmas when I was six - it was the story of a down and out composer who had no ideas left, and it was Christmas, and he came up with the hymn 'Silent Night.'
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel.
Composers don't just sit in a room and write things that are in their heads, they actually listen to a lot of music, pop music, jazz, rock and roll, any combination of music that catches their ear.
I feel that writers think with their noses to the ground, and the dark stuff kind of comes to me more, even though I really am sort of an upbeat guy. It's an honest descent into darkness. And you can't have the joy without the grief - it's why we listen to Mozart's 'Requiem.'
Composers are always going back to the past.
I took classical piano for a couple of years, but I sort of lost interest - I couldn't read a note today if I tried. I still enjoy that stuff, and I think I naturally gravitate towards the classical licks; in fact, I know that I do. I gravitate towards the classical licks that I heard by famous old composers.
Many, many composers have only found their way to a certain form, through familiarizing themselves with texts.
It's funny because as a composer, you want to hear your songs live on. I think a lot of times people will create a song and it becomes stagnant or something that they're no longer interested in playing, and they leave it alone.
I'm sure that I was influenced by Goldsmith's large orchestral scores when I started out, and that was because the people who employed me wanted that kind of sound. I wasn't in a position to say, 'Go to Hell!'
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel. They'd be strange teenagers if they didn't. But cross-pollinating happens too - Aphex Twin did more interesting things with electronic music than most trained composers, who seemed to approach samplers with undue caution and reverence in those early days.
My education as a film composer, you can't not - if you like the orchestra like I do, if you are a symphonist like I am - you can't not listen to John Williams' work.
