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The moment that changed me for ever was when I had my first seminar with my history professor at the University of Sussex. I realised that history would answer all the questions I had spent my life asking. It was an extraordinary moment.
In 1965, I was teaching a seminar on freedom when I told my students that the ultimate freedom lay in casting a dice to decide what to do. They were so shocked and fascinated that I knew I had to write the book.
Ideas for my first experiments in human aggression came from discussions we had in a research seminar about William Golding's 'Lord of the Flies.'
I write, I teach, I direct. I sail around the world for Holland America two months out of every year doing a seminar where we discuss film or theater and do improvisations.
I think people underestimate the importance of lighting - layers of lighting, not just one light. I do a lighting seminar where I take a $300-a-yard fabric and a $3-a-yard fabric. I show what lighting can do to either one.
If I go to a seminar and someone like you or someone like him is talking, I'm never part of the group that rushes him directly afterward. I always wait in the back corner with my head down until everyone is gone, and then I go up and do my thing.
It might be an idea for all literary critics to read the books they analyse aloud - it certainly helps to fix them in the mind, while providing a readymade seminar with your audience.
It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.
During one of my early seminars, there were a bunch of seminar junkies there.
I'm a great believer in poetry out of the classroom, in public places, on subways, trains, on cocktail napkins. I'd rather have my poems on the subway than around the seminar table at an MFA program.
