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That, of course, comes whenever anyone gets any popularity. there's got to be an equal and opposite reaction. and he wrote in the guardian, which was the paper i read and which had, what, in 2005, five million readers? it was pretty big because it was before it alljumped off the page, and he wrote this just utterly sneering review, one—star review, really snobby in that sort of guardian way, like, quoting shakespeare. i was like, "how dare you quote shakespeare at me? i'll quote shakespeare at you!" and just incredibly sneering and ungenerous, a thing that just says i'm terrible at myjob. it...

A pedal piano, and a lot of people had pedal pianos and inherited them, but mostly, they sat there gathering dust. but my mum retained ours and kept it working because we had this collection of something like 300 or 400 pianola rolls, scrolls, and so that was played a lot. and so i grew up listening to all these old pre—war songs like, you know, funiculi, funicula and all these weird songs and then, you know, sound of music and oliver! and all those musicals were on pianola rolls. i mean, it feels like a completely different generation. it's a mechanised piano. so then did you start emulatin...

From les mis", or stop musically commenting on itself and stop textually commenting on itself. he was like, "just write..." i mean, he didn't put it in that many words. he just gave me a nudge in that direction. i realised what he was saying is i didn't need to armour myself with meta, with irony, with satire. i could just write with words to try and elicit a genuine emotion out of the audience. and once he gave me permission to do that, it actually... changed my life. matilda sits in culture as something that altered british culture a tiny bit, and i contributed to it and that made me think, ...

I'm not someone who thinks, "well, i'm an artist, they will come because i'm brilliant." i'm like, "how do i make something that people are just going to really enjoy? like, how do i entertain these people with everything i've got?" and i always thought mucking around with ideas of rock and roll and virtuosity, which is really what i built my career on, is playing with ideas of punk versus virtuosity, high status versus low status. and i didn't think about it too much, but i think that's what i was doing. i was like, "what if i'm this weird genius who then is just swearing his box off aboutjes...

This show i was doing, which at the time was called dark side, might be a bit of a chance. and so i thought... i've always had a fairly pragmatic attitude to this. i'm not someone who thinks, "well, i'm an artist, they will come because i'm brilliant." i'm like, "how do i make something that people are just going to really enjoy? like, how do i entertain these people with everything i've got?" and i always thought mucking around with ideas of rock and roll and virtuosity, which is really what i built my career on, is playing with ideas of punk versus virtuosity, high status versus low status. ...