That and so many other choices in Craig’s life display an obvious wide scope of likes and influences. The music employed in Moulin Rouge itself covers a strange yet compelling breadth of genre, a stylistic flare that does justice to the creative prowess of both Craig and Baz Luhrmann - neither of whom are afraid to give anything a shot. “The interesting thing about Moulin Rouge was that at a very early point Baz started to use the word ‘opera’. And I knew that it would be easy for me because when I was a lad I went to Royal Academy of Music in London and learned all that sort of stuff. But it was also a good door to open I ended up working with lots of different themes. For instance, when I orchestrated ‘Some Day I’ll Fly Away’ or ‘Nature Boy’, themes from all the other tracks are in those orchestrations. There’s lots of little things like that - it was fun because I loved all those songs. And other things were quite funny - like I never, ever thought I’d be orchestrating ‘The Sound of Music’!”

Which brings up a good point - the fearless merger of classical and pop music that the film proclaims. Is that a reflection of what Craig’s own history was like? “As a kid I was more into pop music, you know, but then I started piano lessons with my aunt, who was a quite good teacher. I came from a fairly poor background. My mother was a midwife and she had a very varied record collection - a lot of jazz, classical…really different types of music. And when you’re young you don’t really know the difference, do you? I just thought it was normal that everybody liked everything. And in a way that’s kind of been vindicated in time because I think the snobbery that’s attached to certain types of music is dying out, which is a good thing!”

As I’m agreeing wholeheartedly Craig takes the opportunity to interrogate me again by asking if I play any instruments. Giggling with embarrassment, I confess that I grew up playing the flute because that was what a little girl was supposed to play…and also because when I was four I’d asked for a harp for Christmas but ended up with something much more manageable instead. Over time I became self-taught in guitar and piano and with my obsession for rock music probably could have gone further with them but felt that writing was more my thing. As I tell Craig, why try to play when you can just write about the music - especially when you don’t play that well! His response is encouraging. “But it’s good that you play because I think it gives you insight into what it’s like doing it.”

Even so, I can’t imagine what it’s like for him to be doing as much as he does, working on so many different types of material at any given time. “At the moment, there’s three basic things that I’m doing: I do movies; I do solo projects, signed to Massive Attack’s record label; and I do classical concert works. And I still do arrangements but just for friends. Like for Massive Attack, I’m working on their new album - they were here in Glasgow last week.” When I express my eagerness for them to hurry up (their last masterpiece is already four years old), he teases me by saying he’ll play me a bit but retracts the offer with a laugh just moments later.

“The classical work in a way is the freest thing because when an orchestra commissions you to write a piece, the first time they hear it is the day of the concert, which is weird, isn’t it? And I find that when I have to do a classical piece - like I’ve gotta do one over the summer - I find it quite lonely because I come into the studio on my own and play the piano or whatever. It’s really great to go into a film after that because you’re part of a family of like 2,000 people. So I find that each one sort of works with each other. And the good thing about the solo albums is that I can phone up people who I’m fans of, like Photek and Mogwai and Bono. I can say, ‘Look, will you do a track with me?’” He giggles. “I’m a huge Photek fan and I was really nervous meeting them!”

This is something I can totally relate to - finding ways to legitimize being a fan. Journalism to me is one of the easiest ways to accomplish this - being able to say, “I’m a writer and therefore I can talk to you and it’s professional!” while your inner fanatic is drooling, screaming and clawing at their hair in awe. As I theorize to Craig, some people become musicians to deal with it while others become writers. “I’m glad you said that,” he admits earnestly. “It’s nice talking to you.”

The same goes from me to him, and things have been going unexpectedly well so far considering the way I’ve always seen him presented in the media is in a fairly stodgy and stereotypically classical sense, probably due to his training and accomplishments in that arena. “I don’t know - I haven’t done an awful lot of press. Maybe I’m bad at doing these interviews!” he theorizes with a laugh. “I think because some of the projects that I do - like Moulin Rouge and Romeo + Juliet - are such big projects, maybe people take that too seriously when they interview. They’ll say, ‘Moulin Rouge is the first musical in twenty years!’ and all that stuff, when really I’m just a working musician. I don’t really take myself very seriously. I just always wanted to be a musician as a kid and I am one, so I’m lucky, aren’t I?”

Indeed. Now back to pricing an airline ticket to Glasgow…