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.

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.

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.

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.

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

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.