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 the music editing job is communication and working out what a director really wants the music to be.

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

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.

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

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

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 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.

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.

The improvement of the mind improves the heart and corrects the understanding.

I know that philosophically a murderer is not responsible for his crime, but I prefer not to take tea with him.

I look at the dancers and I get the inspiration for the work from them.

I don’t make sense yadda yadaaaaa

My body and my arm will tell me when they're ready.

But I’ve never seen the Icarus story as a lesson about the limitations of humans. I see it as a lesson about the limitations of wax as an adhesive.

Expectation closes the door to what is happening in the moment.

Nobody takes a picture of something they want to forget.

I wrote Freak the Mighty because Max, the mighty half of Freak the Mighty, insisted and he's bigger than I am.

When I was younger I was trying to do what I wanted to do, not what the game wanted me to do.