I'm obviously attuned to pick up mathematics whenever I can see it. But in Mozart there is a lot of conscious use of mathematical symbolism and numbers in order to try and give messages.
The stage is like a laboratory where you can run theatrical experiments, imposing interesting conditions on the cast or story and seeing how they pan out. Each new play is like creating a tiny virtual universe enclosed by the confines of the stage.
I think science is a foreign land for many people, so I think of my role as an ambassador's job.
We need scientists and mathematicians explaining why they are excited about their subjects but also why they are important for solving social problems, informing political debate and for the economy.
It's my belief that you can take everyone down a logical path if you take them slowly enough, and the trouble is that mathematical brains can get scrambled a little bit on the way. You get a bad teacher, it messes you up for the rest of the journey.
It's important to me that no one can say I'm not pumping out high-level research.
If I'm flying to China, I can sit and think about a problem. Other scientists have to go to the lab. I'm always thinking about maths, even when I'm doing other things. A lot of the time you're going up blind alleys and it's very frustrating, but then you have a sudden rush of ideas. You can live off that for quite some time.
If you can make yourself symmetrical, you're sending out a sign that you've got good genes, you've got a good upbringing and therefore you'll make a good mate.
