I think there is quite a continuity over my 25 years of doing music, and I'm always trying to break away from it.

The way that I make films is that I sit down and I think, "How much money could I get with less consequences?" And that's how I start. I'd rather have less money and total autonomy than more money and start having to answer to things, because then I'm not being true and the money men are not being true.

I've never tried to work chronologically. I don't think I have the discipline to do that.

I think the music business is becoming more difficult. It's really taken a big hit with piracy, so it's a lot more difficult. I mean, it was kind of an impractical career choice when I did it 25 years ago, but nowadays it's truly reckless.

If I had kids, I don't think I would recommend they pursue a career in music.

I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.

I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.