I will say it’s very in a way looks very physical. You know, it’s like a dance. At the end, you are moving your hands in front of an orchestra, your arms, but it’s like a choreography, and that is, that is a dance part of, of conducting. … But at the end, yes, is something that starts from that, but then it gets very deep in a very, I will say philosophical, metaphysical, psychological thing, conducting—more than. Spiritual. It’s more than moving your hands in front of an orchestra and the people watching you jump or move or do these kind of things, it’s something very spiritual, that is right.

The look of the thing is one thing. The sound of it is more important. … When you write a play, it makes a certain kind of noise in your head, and for me rehearsals are largely a process of trying to reproduce that noise. It is not always wise to reproduce it in every instance, but that’s another question.

Being a scientist is about resilience because science is exploring the unknown, just as an immigrant is exploring the unknown. In both, you are on an uncertain journey and you have to find your own North Star.

I find that you’re a completely different person as a maker than you are as a listener. That’s one of the reasons I so often leave the studio to listen to things. A lot of people never leave the studio when they’re making something, so they’re always in that maker mode, screwdriving things in - adding, adding, adding. Because it seems like the right thing to be doing in that room. But it’s when you come out that you start to hear what you like.

And I said, “You know, it does sound silly, and it does sound as if I’m doing it just for my own fun.” And she said, “You have an obligation to do the best you can with whatever you’ve got. And if you like to do a sport, and you can do part of it well, that’s a way of expressing what God gave you.”