I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.

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

I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.

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

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

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