Horror films are the ones that pay the bills, and historically, they have shown that they are good investments. They helped Universal survive with that initial splash of horror films in the 1930s and '40s. And horror films kept New Line alive with the 'A Nightmare on Elm Street' series.

I just think it tells us a lot about the culture here, which is that it's absolutely geared towards American product. You might as well give up.

I'm into horror pictures because I love the fear of being alone in the dark, and I'd recommend that to any composer who wants to work in this genre.

In horror movies, you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie, all of a sudden it becomes incredibly accessible and appreciated.

It's more difficult to get the DVD in Scotland than anywhere else and this is a Scottish film made in Edinburgh.

A lot of our people were forced to work overtime.

As a kid, I had a Beatles poster and a Bela Lugosi as Dracula poster, so both worlds always appealed to me. Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts.

'Psycho' is probably the best known example of a horror film whose exclusive sound was strings, and since then, it's been hard to avoid that. The minute you have strings as your primary voice, the comparisons are always made.

I've always had a fascination for everything surrounding things that are unexplainable. Not surprising that my first movie was a horror film, even though, of course, at the time I had no experience writing horror music.

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.