The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.

The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.

When I'm onstage, I'm completely comfortable, and I feel very vital and alive.

The anti-aging advert that I would like to see is a baby covered in cream saying, 'Aah, I've used too much'

I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.

All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.

Norman is a very up-close, personal, character drama and I'd like to do something more zoomed out, a little more pastoral, some sweeping epic. I'd like to try something different.