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.

With the great people that you work with, it's that they're never giving up and they're never thinking something's finished until they've really, really run out of time. They keep pushing in case there's a better idea around the corner.

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.

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.

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

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

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.