For me, anything can be music! I can get huge enjoyment and be moved totally by the purity and perfection of some Renaissance polyphony, but equally I can feel emotion in the expectant hum of a big old guitar amp just before the strings are hit.
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.
My house was full of music. My main memories are of the record player at home: it was all Beatles and Rolling Stones, and we danced around the living room; that started me off on instruments, and I've done nothing else ever since.
With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.
Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff.
I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know... the next idea you have might be the one.
It's true, most of my days are spent alone in a dark room! I don't really want anyone to see me trying and failing to nail the 40th take of a simple piano cue.
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
When I was growing up, I loved the films where you'd start them and the score might sound really odd at first and really different, and then by the time you finish, you can't imagine it being any other way.