Without that curiosity, he emphasises, opera risks not only stagnation but leaving the next generation with a tedious list of repeats.
“We know how the Hollywood model works: you’re successful with one thing and you make the sequel,” he shrugs.
“But how often is the sequel better than the first movie? Very, very rarely because you’re just trying to capitalise on success.
“So it’s that originality that we’re looking for.”
The other way to put that is “Hmm, that works. Better not do that again then, eh?”