When John Williams heard one of Graham's performances of my piece, he liked it a lot and ended up touring and recording it.

I often collaborate with performers, and I don't always take sole credit for compositions, as many ideas come from the musicians I work with. I wrote a concerto that John Williams recorded, but it wasn't originally written for him; it was for my friend Graham Roberts.

John Williams, despite saying he would retire from solo concerts, continues to commission new works and perform, which is great to see.

Currently, I'm working on a solo guitar piece inspired by Joni Mitchell, and another piece for Aniello Desiderio that draws from Italian opera.

When writing orchestral pieces, I have to ensure they can be played off the page, as there are many musicians involved and time is limited during rehearsals.

I try to keep my compositional approach different for each piece, but certain textures and combinations of instruments often recur in my work.

Writing for orchestras requires a more conservative approach compared to writing for soloists or chamber groups, where I can take bigger risks.

My first significant composition was 'Park of Idols,' which features movements inspired by various musicians, including Pat Metheny and Frank Zappa.

It's sometimes strange when other musicians play music I've written for a specific guitarist, but their different interpretations can be just as interesting and valid.