I also do have to ask about music, because music has played such an important part in your career and it’s a great part of this film as well, so I’m just curious, where’s your philosophy when it comes to the utilization of music and also, just in the collaboration process, you’ve worked with Rick Smith and you also have John Murphy who you’ve worked with on a number of films.

And also A.R. Rahman, who’s incredible.

Of course!

So, I’ve been very lucky with the people I’ve worked with. It’s interesting, the choices that you make are often, they’re not, as they shouldn’t be with music, they’re often not rational, because you know music, it’s very, talking about music if so tough sometimes. You just know. So, for instance, a big influence on the beginning of our soundtrack for this was the Bowie album, Low, and there’s a little sample from it, in it, but it doesn’t make any rational sense. You can’t kind of sit there and explain, “Well, it’s the beginning of electronic music and that led to dance music and that led to Rick Smith and....” You know, it doesn’t really hang together as a kind of, you know, with philosophical clarity for your work process, so it’s more instinctive than that and it’s more to do with your... It’s often, it’s sometimes specific, you pick a song which does end up in the movie. It’s sometimes not, it’s a series of songs that you hope to inspire a composer with and you’re looking to kind of... But, for me, I mean, this is my own theory, but Britain is way better at music than anything else. We are...

Beatles and the Rolling Stones alone…

We’ve got David Bowie. We’ve got New Order. It just goes on and on and on. So, you go, “Well, that’s pretty good for a small island.” And I’ve always tried to make sure, that in the films, that’s reflected in the films, the importance of music. And if people accuse us of being a bit, as they did in the early days, of being a bit MTV, I never thought of it as being... I thought, “Well that’s not an accusation. That’s some kind of compliment.” I was like, “Please...,” and it’s grown up like that because people now digest material so quickly. They’re able to absorb stuff so quickly and they want it to reflect the mix of cultures that everybody, you know, you’ve got... I always used to say that music is running in our heads the whole time and then the Walkmans came along and the ear pods and it is running in our heads the whole time, because you’re carrying it everywhere with you. You’re never without it. You can have 10,000 songs in the cloud, ready to come down at any minute. I always wanted it to reflect that, because it’s a wondrous thing really and it kind of opens up film.

I mean, I’ve changed a bit actually, because as you get older, you don’t have automatic access to everything that’s out there. I don’t know when the change happens, but it does change. I have more access via my kids now than via my own means, you know to what’s new and what’s interesting and fresh and stuff like that. So, but what I’ve done, I’ve changed. I’ve become more composer oriented, because in the earlier films, I didn’t really trust composers. I just wanted to have bits of tracks and make the music like that, but I’ve kind of recognized what a composer can bring you. You can bring them all those tracks, but what he uses them for is inspiration. He writes you a coherent soundscape that takes you through the whole film and you benefit from enormously. So, I’ve been lucky to work with those guys and increasingly to depend on them more.

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