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.

The way that I make films is that I sit down and I think, "How much money could I get with less consequences?" And that's how I start. I'd rather have less money and total autonomy than more money and start having to answer to things, because then I'm not being true and the money men are not being true.

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.

I think there is quite a continuity over my 25 years of doing music, and I'm always trying to break away from it.

I don't like to write any music to a script. Experience has taught me that's generally a waste of time.

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.

Pop music is a fashion, and fashions come and go. The public retires you as their tastes change.