As a composer, I write from the heart, and try to bring a sense of humanness to the music. After all, film is about communicating emotions. Music can play a huge part in this visceral exchange, whether it's fear, remorse, anxiety, elation, smugness or tranquillity. To achieve this, I bring my own emotional experiences and understanding of human psychology to the table of inspiration. It's one of the reasons I love people-watching. Absorbing how people react to each other and to life fascinates me. These observations broaden my mental library, which I pull from when locating the right musical thread or motif that appropriately resonates with the characters on screen. Studying psychology, sociology and being a screenwriter all help me be the best composer I can - an ever-evolving journey. Unable to afford film school or a Master's in Film Composing, (the only acknowledged paths for aspiring film composers at the time), I knew I'd have to make the journey another way and self-train. After a couple of years of researching, meeting people in the industry, studying the reading lists of said courses, and quietly saving up and studying all the technical aspects of using a computer to score for film, I finally got to buy my first computer to score on and used all the knowledge I'd gathered in the years of stuying and learning to create my first showreel. Not long after that I landed my first short films, invaluable to cutting my teeth and being able to safely make loads of mistakes! Joining a filmmaking group proved both fun and equally invaluable. Then, I was lucky enough to start my commercial screen career writing music for six promotional films for The Colour of Magic feature film, (by the late Terry Pratchett). This mini-series of Ankh-Morpork Discworld Tourist Guides produced by Sky, starred Sir David Jason, Tim Curry, Nicholas Tennant, Sean Astin, Christopher Lee, & Jeremy Irons. One of the highlights was visiting Pinewood Studios to work with the actors.   After that, I landed my first independent feature film and I never looked back. I remembered the day I sat in the cinema to watch Total Recall, and the title credits burst into action with the exhilarating score by the late Jerry Goldsmith, and how at that exact point, I knew I wanted to be a film composer. And here I was, finally doing it. My dream was finally becoming reality. I went on to score and produce music for over eighty screen projects, including short films, documentaries, TV, and award-winning independent feature films, in many genres from horror to romantic comedies, martial arts, drama, fantasy and war. I've worked with incredible filmmakers from all over the world, many of whom have also become great friends.   The studying, learning and evolving in the art and craft of writing music and scoring to film will always continue. And this is what makes every project an awesome journey. Forget the fear of that blank project when you first get given it to score, or the doubts, or the inevitible creative paralysis that takes place somewhere in the scoring process, I always walk away from every project having not only learnt something new from a technical perspective, but probably more importantly I learn something about myself. The trick, I find, and what keeps things fresh and alive, is not only being open to these revelations, but to learn to become expectant!