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.

Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.

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.

I think that idea of being far away from the people that you love is something that everyone can relate to.

We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.

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 think I was brought up with games and I don't think that they're just Pac-Man or Space Invaders. I think we've moved on, I think that there are stories being told and worlds being explored.