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.

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 try to listen to stuff that makes me happy for other reasons, rather than being musically inspiring.

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

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.

It's the balance between wanting the power of electronics and having something real happening - if you want people to engage in what you're doing, I think that's important. I want to have fun with people, but that's hard to do with a laptop.

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.