A lot of composers I know hate temp scores because people get attached to them.

A lot of composers I know hate temp scores because people get attached to them.

I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.

I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.

The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.

In the mid-2000s, I kind of accidentally became a music editor.