I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.

I think the music business is becoming more difficult. It's really taken a big hit with piracy, so it's a lot more difficult. I mean, it was kind of an impractical career choice when I did it 25 years ago, but nowadays it's truly reckless.

There's nothing worse than a director that keeps changing their mind. Because, unlike the directors I work with, I'm not decisive at all.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

If you want to survive in the film industry, it's not about fighting for your visions because that's a given. It's thinking about how much is your vision going to cost, and then, what are the consequences, because you may have $100 million, but the reality is that $100 million needs to make $500 million to be a success.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

The more I come to understand music, the more I feel like a numbskull because there is always more to learn.