It's a myth that you need to understand all the ins and outs of music. The ideal scenario is you have a conceptual, directorial conversation about what you're trying to achieve in a theme and then trust your composer to go ahead and do that.

It's a myth that you need to understand all the ins and outs of music. The ideal scenario is you have a conceptual, directorial conversation about what you're trying to achieve in a theme and then trust your composer to go ahead and do that.

There's a whole gamut of things to do with film music that don't apply when you're making a record or if you're writing a concert piece or something.

Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.

To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.

If you're the sort of person that likes a job where once you know what you're doing you can keep doing what you're doing, don't ever become a film composer.

In the sometimes ridiculous action scenarios you're laughing out loud, and so the more committed and in fact the more highbrow the music is, the funnier it is.