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.

When you've finished the film and everybody's already made back all their money, everybody just leaves you alone and I'm very happy. That's what it has to be like.

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 live in Topanga Canyon, which is like a faux-rustic enclave in Los Angeles. I love the sounds of all the critters outside - the frogs, owls, crickets, and birds. Some of the birds around here are pretty accomplished musicians. You can learn a lot from them.

I got fed up with being in bands. I spent a couple of years touring the country in a smoked filled band, doing lots of drugs and being really unhealthy.

I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.

Composers are in some ways the last frontier of musician that gets a paycheck for their musical services.