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.

I've always been very left of center and the radio never had much diversity and film did.

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

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

I live in Topanga Canyon, which is like a faux-rustic enclave in Los Angeles. I love the sounds of all the critters outside - the frogs, owls, crickets, and birds. Some of the birds around here are pretty accomplished musicians. You can learn a lot from them.

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 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.