So, first of all, how did you first get involved with Flatliners?
The head of music at Sony, Spring Aspers, brought me in to submit a demo when they decided to replace their initial composer. They wanted to try a different musical direction. I submitted sort of a bunch of tracks from previous projects and they really liked the tracks and though I could bring something really cool to the film. So, nothing more exciting than that [laughs]
I suppose, how you describe the musical style of the movie?
I mean it’s sort of got electronic and synth underpinnings, which is a little unusual for me in that it has orchestral elements over the top of that. The intent of that, by the director Niels Arden Oplev, was to keep the, sort of, energy and sound of the score in a youthful place,