Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.

Film scores are often based on short themes, and it helps if youve got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.

My favorite work is The Full Monty because I got an Oscar for it. But it was really hard work at the time. Sometimes comedy is not a bundle of laughs to actually do.

I always think it's important to choose your initial theme very carefully because you're going to be married to it for a long time. You might have to generate an hour's worth of music from a very short, little piece of theme.