“I like racing but food and pictures are more thrilling. I can't give them up. In racing you can be certain, to the last thousandth of a second, that someone is the best, but with a film or a recipe, there is no way of knowing how all the ingredients will work out in the end. The best can turn out to be awful and the worst can be fantastic. Cooking is like performing and performing like cooking.”

“And you can't go, "There's a hair in my Jell-O. I'd like to send this back. Can I see the cook, please?" The cook is a big dude named Bubba Joe.”

“It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away.”

“(On Ainsley Harriott) I must admit, I tend to think - with Ainsley - if you're that happy, you haven't really understood the world. You see, I think that cheeriness is all very well. Beyond a certain point it becomes quite offensive. And how many versions of what is, basically, your dinner can Ainsley do? There must be executives stalking the corridors of White City, thinking 'We need a new idea for Ainsley. He's so jolly. What can we have? We've had him doing Can't Cook, Won't Cook, Ready Steady Cook, Barbecues. We need something new, different, edgy. How about this? We like this. Ainsley's Death-Row Dinners.' Yes, the jolly chef tours the condemned man with a last supper to remember. We can have the recipes in the Radio Times - Ainsley's Humanely Fried Chicken, with a lethal injection of butter!”

“There is a particular hapiness in giving a man whom you like very much, good food that you have cooked yourself.”

“There is one thing more exasperating than a wife who can cook and won't, and that's a wife who can't cook and will.”

“However you envisage your role in life, all you can do is perform it as best you can.”

“I don't know, there's something about you. Say there's an hourglass: the sand's about to run out. Someone like you can always be counted on to turn the thing over.”

“I'd rather hop freights around the country and cook my food out of tin cans over wood fires, than be rich and have a home or work.”

“More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.”