I've programmed myself musically to come up with love-feeling tracks that are romantic sexy but classy all in one. And that's the challenge. Once I create that music then the lyrical content starts to come - you know the stories and things like that.

Music's been around a long time and there's going to be music long after Ray Charles is dead. I just want to make my mark leave something musically good behind. If it's a big record that's the frosting on the cake but music's the main meal.

I see music as one language. If one musical form eats its own tail it dies. So it needs to be a mongrel it needs to be hybridised.

In the course of transferring all my CDs to my iPod I have found myself wandering the musical hallways of my past and reacquainting myself with music I haven't listened to in years.

I'm not suggesting people abandon musical instruments and start playing their cars and apartments but I do think the reign of music as a commodity made only by professionals might be winding down.

I met Prince William at a musical festival and he let me know he was a fan of my music. But the invitation to sing at his wedding reception came completely out of the blue. The fact that Kate and William knew the words to my songs was very touching.

There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

We're five people five individuals who came together to create something to make music and to complete each other musically to form a perfect circle.

I don't want to limit myself musically. It would be really limiting if we'd neglect something we really want to do like explore other styles of music.

But I feel music has a very important role in ritual activity and that being able to join in musical activity along with dancing could have been necessary at a very early stage of human culture.

My music had roots which I'd dug up from my own childhood musical roots buried in the darkest soil.

Hell is full of musical amateurs.

In the theater it's about taking time in a musical segment a pause in a musical way and then moving on.

Whenever I think about movies I always look at that art process as having the best of a lot of worlds. Because if you watch a great film you have a musical element to it not just on the scoring but in the way that the shots are edited - that has music and rhythm and time.

I loved old black and white movies especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs the music the romance and the spectacle. They were real class and I knew that I wanted to be in that world.

I've made three musical movies which is pretty good considering that not many are made but I was lucky in other ways. I came along when independent movies were starting to boom.

I sure lost my musical direction in Hollywood. My songs were the same conveyer belt mass production just like most of my movies were.

I'm doing 'Les Miserables ' the movie. I've done a lot of musicals and a lot of movies and I know there are not a lot of people in Hollywood who have been down those two paths so I've been like 'Come on let's do a movie/musical.'

I was very influenced by the musicals and romantic comedies of the 1930s. I admired Gene Harlow and such which probably explains why since the end of my marriage I've dated nothing but a succession of blondes.

I've studied all my musical life but learning is only good if you do something constructive with it.

I had a vision how it should sound and I put all my knowledge into this product and it is a fantastic product. People still tell me that I have the best musical thing there.

Listen to any musical phrase or rhythm and grasp it as a whole and you thereupon have present in you the image so to speak of the divine knowledge of the temporal order.

Even if you're improvising the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.

My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself they have to talk about it in terms of senses and emotion rather than keys and tempo.