As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.
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.
I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.
I think the whole tension about romanticism is the way it builds and builds, and the moment it's consummated, the tension's over.
Women often postpone their lives, thinking that if they're not with a partner then it doesn't really count. They're still searching for their prince, in a way. And as much as we don't discuss that, because it's too embarrassing and too sad, I think it really does exist.
