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'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.

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 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.

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

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