No, they are three completely different processes. In film, I try to really blank out my mind when I see the film for the first time so that I have no preconceptions. Early on in my career, I tried to do all this prep or even read the script and write music, but none of it ever survived. And I realized the best way to go at it was to be as blank as I can possibly be. When I’m writing classical music, it’s much more nerve-wracking because I’m starting with nothing! And I don’t have a picture to drive me on. I am wired now, for 38 years, that I see a moving picture, I hear music, you know what I mean? But with classical, I got nothing, and at first that was totally terrifying. But I forced myself into it, and then something develops, and it becomes very liberating. With the rock music, it’s a whole different process. I mean, I can’t do anything until I get the message.

It begins with knowing the story you want to tell. There are thousands of stories contained within the world that Samantha has created – we have to be very disciplined about opening up the world in a way that will lead us on to further investigation in the rest of the series. We need to find the emotional heart of the story; the relationships; the tension; the suspense and the drive; and of course working closely with Samantha is going to make it much easier.

I don’t begin with a material. I begin with a problem. If a material can solve that problem, then I become interested in it. Sometimes it is paper, sometimes timber, sometimes carbon fibre. There are many materials we still don’t use efficiently. I think there is always room to discover new possibilities, every project presents a different problem, and I am always thinking about how to solve it more simply, with fewer materials or a better structure. I think every material has good and bad qualities. The important thing is understanding them and using them appropriately.

For every painting, I first use the one-quarter inch masking tape to create the grid, dividing the surface across equally. There are four stages of taping. It begins with taping one layer on the whole canvas vertically, then proceeds the same horizontally. The next thing is to apply the selected color with a small brush, then remove the tape. Repeat this same process on the unpainted squares one more time vertically, then horizontally, then apply the last layer of colors. What I love is the degrees of surprise every time; to take each layer of tape off the canvas is to reveal new worlds of optical symphony.

In fact, what I usually say to people, “Probably some of the most successful scientists are the ones that know how to deal with failure well.” Because it’s easy to feel good when you succeed. That’s an easy thing. But you’re probably going to fail in science a lot more than you succeed, so you really have to learn how to deal with it and not let it beat you.

I didn’t realize that scientists were like that, and that people were like that. I would have thought — and I like to hope — that I encourage people rather than discourage people. I think you can say no and still say, “Boy, that might be a tough problem, but if you really work at it maybe you’ll solve it,” rather than, “No, it will never happen.”

The person that inspired me the most was Judah Folkman. He was the man that I worked with when I was a postdoctoral fellow. He was really an inspirational person for a variety of reasons. One, he was a big thinker, and lots of people told him that his ideas wouldn’t work or that they were impossible. He persevered in spite of that, and did very, very well. And secondly, he was very encouraging, very sort of like positive reinforcement, in terms of how he would deal with me and others. So I would say he certainly had a pivotal influence on my career when I was a postdoctoral fellow.