It's easy to like the most popular films, but I have a great fondness for 'A Life Less Ordinary'.
I want the score to have a really big voice.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
When I came to England at the very beginning of commercial television it was easy for me because I was only doing one or two shows a week at most. It was really a holiday.
I was able to go from stage hand to floor manager to assistant director to director in a year because there was just no one else to do it and what I didn't realise and what people don't understand now about television is that we used to do about five shows a day.
The title came rather early in one of Ringo's more tired and emotional moments.
Hard Day's Night was one of those great films that will never happen again to anyone in their lifetime. UA were in profit before we'd even finished shooting - The advance sales on the album - the film was out before the album was out was more than it cost UA to make the film.
What I'm interested in is tone, and the ability to articulate in a very minimal way. That's the sign of a mature musician, and that's what I look for.
There is no terror in a bang, only in the anticipation of it.
Trying to get work and life in balance is the most difficult thing. I have that knowledge now, but it was a setback at the time.