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.

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

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 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.

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.

I find that I love so much stuff and respect so many people who work in this industry and music in general. I've kind of learned that I've got to just stick to what I can do and try and do that really.

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.