"Then, my last one is going to be — this might be slightly more obscure, though it really shouldn’t be. I fell in love with this film when I first saw it and I don’t think I’ve ever seen a film as beautiful, as contemplative. The film After Life by Hirokazu Koreeda. I remember when I first saw it, just being totally blown away by every single frame of it. The honesty of it, the fact that it celebrated life, the fact that it was so unbelievably profound and spoke volumes about living life to the fullest and cherishing every moment. I don’t think there’s been a more beautiful film about life itself. It’s so understated in the way he tells his story. It’s obviously a collection of vignettes and a collection of talking heads, but woven into this narrative. Again, I might be wrong, but I seem to remember that the number of the people who contributed to the experiences of life are real people — it’s almost like documentary-styled elements to the film itself. So you got these really personal memories that are very private. Sometimes they’re nostalgic, sometimes they are beautiful, sometimes they’re funny and amusing. That, for me, is the ultimate win. When the Blu-rays of that came out in Japan, straight away I was like, “I’m buying this film! I need this film in HD.”"

"I was 11 when this film came out and it was the first time I ever went to see a film twice in one week. It blew me away and changed my life. Not just the film, but largely [György] Ligeti's atonal choral pieces. This discordant, sometimes beautiful, intertwining of voices, that were dark and then beautiful and then disturbing and then uplifting. I went out and bought the album, and then put it on my record player in my room and shut myself in my wardrobe with a flashing light and spent hours in there. I wanted to shut myself off from the world and immerse myself completely in this extraordinary sound. And I went on to be an artist that built environments and quadrophonic sound spaces – purely based on this experience. And years later, when we came to write the score for Danny Boyle’s Sunshine, I said, "do you think 2001 can be referenced?" and Danny said, "absolutely", and that was just like heaven for me. This album is at the core of where my head’s at. One minute it will be playing some Brahms and then it’s playing this beautiful, yet discordant, choral music and I think like that now. This is the rhythm of my bones. Something for the future is to score for a choir."