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I was very into making the Big Artistic Statement - it had to be innovative; it had to be cutting edge. I was desperately keen on being original.

Predating the Internet and predating videos, you had an active imagination. You would hear sounds and then get mental pictures of what these sounds felt like to you. It engaged you and made you more invested in it. It made you want to get tickets to the show, buy the album, put the poster on the wall. Now it's sensory overload.

With most of the songs and music that I've composed, irrespective of the myriad videos made, I was always careful not to overly define the experience, leaving room for people to internalize things for themselves, making their experience more integral.

As an artist, it feels good that we've created something that is connecting with the audience, which is what we always strive to do.

Whether it was working on theatre sets or stage lighting, I didn't realize most all of the skills I was exposed to were going to come in handy later on when I became a designer.

I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.

I thought I was learning about show business. The more painful it was, the more important I thought the experience must be. Hating it, I convinced myself it must be invaluable.

I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. I found a way of working which pleased me because I didn't have to frighten people with heavy equipment. It was that little black box and me and £5 worth of film in my pocket or maybe it was only £2 in those days.

Doing acting opened up other creative outlets; it made me feel freer as an artist.