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 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.

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

I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.

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.

The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.