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.

Singer/songwriters spend two or three years making an album, and then it goes up for sale and everybody pirates it and you don't make any money. Whereas, writing a film score you still get presented with a paycheck.

It's very important that you never depend on money to fulfill your creative vision. If you do that, you're doomed to fail.

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'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.

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 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.