I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.
It's an extraordinary thing about Mozart is that you never tire of him... he never bores me, and he doesn't... not only bore me, that's too strong a word.
I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'
You never quite know what's going to strike your imagination, or something that won't going to leave you alone, not going to leave alone, and this was one for me.
And in fact, I think one of the best guides to telling you who you are, and I think children use it all the time for this purpose, is fantasy.
But the first published thing I did was a detective story, detective novel, and I did that on my own.
I think I did have fantasies about being an actor. In fact, I know I did.
I think possibly the first film that has music as its leading character.
I was born in Liverpool in England, and I lived there for the first nine years of my life.
Librarians as a race tend to be tedious.
My actual childhood, as opposed to my adolescence, was not spent in London.
There used to be a certain condescension to Mozart. His music was regarded as pleasant. He was a porcelain figure playing a porcelain harpsichord.
You can't always let people do their own thing.
A part of me is always envious of people who live in the present and are sustained by a sense of spontaneity. Even dogs have that capacity: they're always wanting to participate in something, and I don't often have that element in me.
I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.
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