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.

With the great people that you work with, it's that they're never giving up and they're never thinking something's finished until they've really, really run out of time. They keep pushing in case there's a better idea around the corner.

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

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

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

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.

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.