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.

Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.

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.

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.

We all shared an admiration of Debussy both as a musician and as sort of an icon for the 20th century. It seemed like an interesting idea to go right back 100 years to find the source of some new ideas now.

I think that music has an endless life.

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.