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 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 know so few people who actually give music their undivided attention, so I've been trying to just park myself on the couch between the speakers and listen.

Censorship has kind of disappeared in a way because everything is accessible online.

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 work at home but average 15,000 to 18,000 miles per year on my Honda.

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.