I started reading poetry in primary school—Victor Hugo, the romantics, and the Parnassians—they were part of the curriculum. In my grandfather’s library there were some anthologies of nineteenth-century poetry. Alfred de Vigny impressed me most; indeed I won a competition by reciting Vigny’s “Moses” with an enthusiasm that touched the examiner. In fact this poem and “La Maison du Berger” are among the most beautiful poems in the French language, unfairly neglected today.

There was very much a real feel that we probably pretty much discovered every major fossil field in Africa. And in fact, some scientists even wrote that down at the turn of the millennia. It wasn’t a great time to be proposing to explore and push new, because we hadn’t succeeded, theoretically, being given the chance. All the big discoveries were in old sites. ... I was still an extraordinary believer in that there was more out there to be discovered. I just wasn’t demonstrating.

Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it's really how it works. The design of the Mac wasn't what it looked like, although that was part of it. Primarily, it was how it worked.

I thought I was a hedonist at the time, but when I look back I was always working. I am always working. I work every day. I never give parties; I never gave them.

I want to be able to express, I want to be able to communicate, and I want to be able to understand what it is I’m doing, and I want the people whose language it is to understand what I’m doing.

As a very young singer, I was invited to the opera house in Berlin by the then-director of the opera house, Egon Seefehlner, and I had one opera to my name that I knew. He felt that there was a lot that I could learn there, which was very true, and I was so lucky to be able to have this opportunity. The thing that was happening is that I kept being offered operas that I knew that I wasn’t ready to sing, just from an experience point of view, as well as being 24 years old. So I was always asked to sing things that I thought, “Well no, I really don’t think I should sing that now. I need to sing that maybe in five years, or maybe in 10 years, but not right now. Couldn’t I please sing something else?” And that became a difficulty for me. And after being at the opera house for three years, and singing Elsa and Elisabeth — the Wagner roles that are not sort of the heavy Wagner roles — and then Mozart operas that suited my voice at the time, I was continually invited to sing things that I just felt I shouldn’t. So I took it upon myself to go to speak with the artistic director to say that I thought I should leave the opera house, and come back in some years when my maturity sort of chronologically would have caught up with the invitations that I was being offered. Of course, considering that he’d taken me into the opera house when I knew one role, he wasn’t all that happy. I thought he’d say, “Oh, what a smart girl. Oh yes, absolutely. That’s what we’ll do.” No, no. He was absolutely furious.