It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.

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 think that music has an endless life.

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.

Composers are always going back to the past.

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