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When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.

Maybe I don't ever fully switch off, but I think the way I offset that is by splitting my time between film and music. I always want to challenge myself and grow, fail, self-flagellate, and then try again.

The goal is to divide my time between stage and film.

With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.

I'm not complaining about doing 20-hour days. It's a joy to be able to work on yet another film.

Usually music is used to hide a film's problems.

Let's say music is needed for only 43 seconds of film. You have to score it so it is an entity, so it won't bother anyone when it ends so quickly. Or if a song runs 2 minutes and 45 seconds, but the titles run a minute longer, you have to arrange that song so it doesn't get repetitious.

Making movies is difficult and you get disorientated sometimes - even when you're working with fantastic talent.

I've been doing a lot of music for films and television for quite a few years.

Film composers are the most prolific music makers on this planet, and most of us are, like, losing our minds if we're doing five or more movies in a year.