Paul Normandale and Phil Harvey, the band's creative director. And you guys were responsible for bringing Paris on board? We brought in Paris, our favourite graffiti artist who we have worked with for years and he absolutely stepped up to the challenge. We discussed - at great length! - the style of graffiti. We wanted to move away from traditional graffiti and develop our own style of mark making, inspired by the work of Jean-Michel Basquiat and Picasso. We did some workshops with the band where we all got to explore and experiment with spray cans, acrylics, fluorescents and paint pens. The results were extraordinary. Paris brings great flare and creativity. How closely have you worked with the band on the stage sets? We've worked really closely with the band on all the different guises and developments of the various set designs. The band's deep rooted visual creativity, combined with album concept and lyrics provided a rich palette to work with. I always make a scale model of the set, so the band can get a sense of the space. It creates a central focus and we can sit around the model and move various bits of set and screens until we're happy ... I love the process. I find it very inspiring. Glastonbury must've been a highlight for you, with the Pyramid Stage lighting up and the incredible audience response? Awesome. It was very moving. How did you go about translating the set to the stadium shows? Because we