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

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.

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.

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 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.

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.