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.

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.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

You have to be flexible enough to realize that, over the course of making a film for three and a half years, things are going to slightly change and drift, as you work out solutions to each problem as they come up.

That definitely I feel is part of my generation: social networking, communication over the Internet, whether it's Skype or IRC or some form of text-based chat, text messaging.

My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities.

Bill Pearson is definitely a man to talk to, especially in the afternoon when he's had a couple of drinks because he's got so many stories and anecdotes.