Bande originale de 'Warriors'

Composing (but not recording) in her home studio, Wiseman has adopted this approach - “it's one hundred per cent me” - but considers conducting the final recording “the best bit – it's a feeling of completion.”

As with many composers, the temporary tracks favoured by editors (and directors, while in the edit), aren't a favourite, risking a dictation of what the music should be, as opposed to allowing the composer free reign. Says Wiseman, “I doubt many composers would ever say they love a temp track – if they're saying that they're being diplomatic. I prefer a blank canvas, I like looking at a scene, I don't like being influenced in that way.”

Perhaps the most direct solution to the temporary music issue is to compose demonstration music based on a script and discussion with a director, before shooting, as was the case with Peter Kosminsky (Warriors): “we'll talk early enough that he'll know just from a script what sort of music he'll like, that he'll listen to, perhaps even on set as he's shooting – that to me is an absolutely ideal way of working.”