I'm always hunting and prowling. I'm sure Brian [Bath] was exaggerating!

You hope that the ideas will come together. You just don't know. That's part of what I suppose is part of being brave and putting creative work out there.

You have to try and embrace it all and everyone who represents that change because it is happening.

Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.

If you believe in what you do and you really want to be in music, just stick at it. It's always a learning process. Enjoy it because I think making music is a privilege, really. In an ideal world, it should also always be fun. As much as possible, make it fun.

The thing with 50 Words of Snow is that it was literally back-to-back from Director's Cut [also released in 2011]. It was more or less that I got to make two albums in one hit. I was already in this space in my mind to be writing and making an album.

My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff. He was really a hugely encouraging force to me when I was little.