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.

Everyone wants to know what you want to work on and everyone wants to pitch you what they're working on. And that's just part of the process. And hopefully, at some point you find someone of like minds and you make a film.

I was massively jealous but also excited when Tarantino did Inglourious Basterds, I'm a huge guys on a mission fan. Those kind of movies.

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.

You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.

I was also a science fiction and fantasy fan, growing up, in games and books and movies. I love Tolkien and I love Dungeons & Dragons, so the opportunity to have a fantasy-based RTS, or real time strategy game, at that time, seemed cool. I started playing it, and the early games were simple, but fun and they had these great heroes.

When we first made this whole idea this was going to be calling card film [Moon] and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn't stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.