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.

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.

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

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

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'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.