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.

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'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.

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.

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.

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