There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting to see.

You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.

I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.

Here in the UK the audience immediately reacts and they get the fact that: "What would be the most annoying thing in the world?" A Chesney Hawkes alarm clock!

I had a real comfort with being on a set and in particular working with special effects and because of that background, it became much easier for me to base a first time feature film on a low budget cause I was sort of already knew how to do that.

Sam Rockwell has a fantastic sense of rhythm.

I've been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials