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.

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.

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'm kind of conservative. I like to build on what I've done in the past and try something new.

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'm not in a position in my career where I turn things down. I'm very easy. So the projects often dictate the direction you will go in. I welcome things that challenge me.