When I see a movie, the music often gets in the way for me. It's something that, say, for myself and Claire, we never, ever speak about. We never speak about describing emotion. I think it's about color and movement. And I think it's important to let the images be the melody, as well, a lot of the time - to create a kind of a backing for that, to let it sing.

We're doing all the shows as an eight-piece band. There's so many different kinds of palettes for each film that we've had to find a balance of musicians who can shift from one instrument to another to make all those sounds for us come to life.

I'm still exploring. As I look back, Nénette Et Boni had a massive effect on the album we made after it, Curtains. I think it's been like that all the way through. Trouble Every Day had a massive effect on Can Our Love... I think it's allowed us to raise our heads, take a bit of a left turn, explore different avenues, and then come back to our own thing and see it in a different way.

There seems to be such an insecurity with a lot of films. When they're made, you have to pack every moment to feel something and use the music in that way. That's something I just naturally don't feel.

Sometimes when there is action, we just tend to avoid those moments with music, and have music in a separate part that allows you to dream and to make your mind up on where you're at in the story.

When I see a movie, the music often gets in the way for me. It's something that, say, for myself and Claire, we never, ever speak about. We never speak about describing emotion. I think it's about color and movement. And I think it's important to let the images be the melody, as well, a lot of the time - to create a kind of a backing for that, to let it sing.

I'm so aware when you make a film, there are so many elements to get right. So many people with such important jobs. You know, it's terrible. I walk away from a film going, "The cinematography was great, wasn't it? But the music wasn't so good. The casting wasn't great."