Quite often, when I describe to people what I want, I'll say "overwhelming" - I want it to feel like it's phy

I want to become less and less about the laptop. That's what's lovely about an orchestra - the physicality, the way every gesture relates to something you're hearing.

I had thought everyone in the electronic world would be so laid back, but there's as many cliques and prejudices as any other world.

I'm up for a massive, bombastic tour with hydraulics, robots, lasers, 15 costume changes, projecting on a power station, big impact, big visuals. I'd love to realize the theatricality of the whole thing. To be overwhelming, to surprise you, maybe to play in hidden spaces.

Other friends have said, "I don't understand why you've used this trumpet-style sound rather than a real one when you know you can write for trumpet." But it's most important to get the energy right.

With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.

I'm less interested in uniqueness than in goodness. I see so many concerts where the program notes are more interesting than the music. I remember talking to one composer who went through the most complicated mathematical algorithm to generate some material from scratch. It took weeks and weeks, and he came up with a C major chord. For me, honesty is more interesting than originality.