Screen Music Awards: Shane Howard

How different is your songwriting approach when it's to accompany someone else's creative endeavour for the screen? It's not that different but in the case of The Secret River, you have to be faithful to the story and the history. But you have to open minded and co-operative, bearing in mind that you're trying to assist someone else realise their creative vision.

Does the director give a specific brief or a general outline for you to explore creatively? The brief and guidance were general and came from producer Stephen Luby as well as screen composer Burkhard Dallwitz. Stephen wanted two pieces to run over the credits and sum up what the viewer had just seen. Archie and I then explored that territory.

How much input does a director have throughout the process? Is there a constant back and forth or are you generally left to your own devices? There was plenty of back and forth between myself and the producer and Stephen gave a clear sense of what was working rather than what to do. There was plenty of room to move creatively but it had to fit the brief.

What's your favourite TV show theme and why? At the moment I'm still in love with the theme for Mad Men. The theme sets up a great musical tension at the beginning of each episode.

What's your favourite piece of film music and why? My favourite is Kubrick's use of Also Sprach Zarathustra in 2001: A Space Odyssey. Absolutely compelling, memorable and definitive.