I don’t know if that is true. There have been 110 or more years of cinema, and it’s impossible for any one of us to make a film that can’t be compared to something that has come before. To me Blue Velvet is Blue Velvet and Rear Window is Rear Window. You could say that Sunset Boulevard or Rear Window has conjured an idea for me, but even though I love them or am inspired by them, life is a 24/7 movie. Ideas come out of that all the time. It’s hard to say it’s cinema that conjures ideas. It’s altogether.

For me, since when I was a child, all writers have been collective. They are searching meanings in life. Sometimes they are lost and sometimes they are determined and all their efforts and all their strengths have been my inspiration. So it’s very difficult for me to pick some names of the inspiration. It’s very difficult for me.

It was a very important finding for us because we were involved in nucleic acids. There weren’t many people interested in nucleic acids. There weren’t many people who believed that was the way to find drugs. But when we found out the structure, and we began to understand what kind of bases could be incorporated, and which ones couldn’t, and where they could be incorporated, it put a whole new dimension on it. So it had a very significant effect.

The films that influenced me were so disparate that there’s almost no pattern. Stanley Kubrick was an influence because I loved 2001: A Space Odyssey. and the more I learned about him and his methodology the more I realized what a rigorous intellectual exercise filmmaking was for him, and I was inspired by that.

Harold Prince went to see it and he wrote me a letter saying don’t be discouraged about this because actually there’s some quite good songs in here. But he also said something which stayed with me all my life, which is that you can’t listen to a musical if you can’t look at it, by which he was actually saying that the designs for Jeeves were absolutely hideous.