For that reason, perhaps, he seemed surprised to hear his name called again.
Litton makes it work, perhaps because underneath the sumptuousness, the music's moving parts remain rhythmic and light on their feet; perhaps because he seems able to see past the work's vastness even while he revels in it.
He is also accused of populism, perhaps because he seems to feel that government of the people should also be government by the people and for the people.
Yet it is hard to do so, perhaps because he seems to have patented Utah's particular brand of earnest enthusiasm.
Perhaps, as he seems to think, it is dragged off by demons to eternal punishment.
Along the way, he gives an engaging, if opinionated, survey of various currents in aesthetic debate; it is perhaps unavoidable that he seems on more solid foundations here than in the realm of science.
It's perhaps telling that he seems more interested in talking about football, north-London property prices and our respective children than he is about Time, his new album – and the first on which he has contributed songwriting since 1998's When We Were the New Boys, a misfiring effort that also featured him covering Oasis and Primal Scream.
Wood will be forever linked with the Cubs, for whom he played for 12 seasons, perhaps because he seemed to embody the team.
Perhaps his supporters were naive to be taken in by the impossible sweep of his early ambitions and his promise to transform politics itself, perhaps because he seemed to solve the problem of race, an achievement so big that that all other hurdles might fall to him.But his supporters were not only naive.
(One scene where he enthusiastically greets his sisters sans wife is a bit split personality; perhaps he should seem a tad more apologetic in his enthusiastic greeting? Otherwise, his work is impeccable).
