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

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.

I'm a guitarist by background. That's what I used to do for sessions when I was younger and that sort of thing. We have several pianos in the house and I tend to just sit and fiddle around.

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.

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

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.