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

It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.

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

I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.

A lot of the music editing job is communication and working out what a director really wants the music to be.

No one's being precious about their music. They want the film to be great. And that was the huge lesson for me along the way to be a filmmaker. And yes, I'm leading the music department kind of thing and that responsibility with the music is with me, but really that job is one of many.

For me, anything can be music! I can get huge enjoyment and be moved totally by the purity and perfection of some Renaissance polyphony, but equally I can feel emotion in the expectant hum of a big old guitar amp just before the strings are hit.