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.

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

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.

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.

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

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.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.