For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

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.

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 think the music business is becoming more difficult. It's really taken a big hit with piracy, so it's a lot more difficult. I mean, it was kind of an impractical career choice when I did it 25 years ago, but nowadays it's truly reckless.

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

I like challenges and I definitely would like to be more of a chameleon.