Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.

I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

I want the score to have a really big voice.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I might have a guitar or a piano on set to play something for the actors.

I've spent my life hearing people trying to apologize for music.

I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.

I play piano and trumpet. I studied classical guitar.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

But I don't have such a strong desire to need to get away from filmmaking.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I like to work my camera as if it were a musical instrument.

In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.