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.

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.

I don't write poetry and then strum some chords and then fit the words on top of the chords.

There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.

I've never approached classical music in a formal way, ever. I couldn't read very well. I'd have to play every piece and internalize it, almost as if I had written it myself.

There is something comforting about going into a practice room, putting your sheet music on a stand and playing Bach over and over again.

The weirdest time is when I'm having to explain myself all day to journalists, and then I don't perform, so there's no release, just a lot of self-consciousness. Then what do you do with that at the end of the day? How do you release your brain from talking about yourself all day?