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.

There's something strange about a laptop, how you can make the tiniest gesture and make the biggest sound. I don't feel I've resolved working a sense of performance into a piece yet.

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.

Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.

I feel happier knowing a starting point came from me. And I like stuff that gives you a physical reaction.

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.

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