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

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

I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.

I've been able to have broad kind of education and all sorts of different music and a lot of kind of films and also different styles and genres. And so, all of these things have influenced me along the way and I take a little bit from everything I do. I've been lucky to work with a lot of great people and learn from them.

For me, I work very self-contained. It's literally just me sitting in a room doing it until the very end of the process when other musicians come in and instruments are recorded.

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.

I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.