I'm very interested in the color of sound. And I'm very interested in the juxtaposition of different things, ethnic instruments juxtaposed with symphonic instruments, and I'm interested in the ancient and the modern. I don't know why, but it has always been something that's fascinated me, from when I first heard a symphony orchestra I wanted to know how those sounds were made.
I like to start at the beginning and make the music develop in line with the drama developing. I've talked to other composers about this, and they don't all do it this way. Some people like to find the emotional center of it and work from the climax and then work backward and work forward, so I'm still experimenting with the actual way of doing it.
I wanted to do something that had a purely musical inspiration, and I was inspired by the sound of choirs and the English pastoral music I used to hear when growing up. I was also inspired by the textures and rhythmic vitality of the so-called minimalists, Philip Glass and John Adams, and I'm always intrigued by the sound of the recording studio.