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.

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.

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

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

I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.