It's fair to say I might not be speaking to you now, were it not for this week's guest.

That's because I started to think about how underrated movie music is when I saw Clint Mansel perform in his film scores at the Largo in Los Angeles back in 2012.

I'm Edith Bowman and you're listening to Soundtracking, the podcast in which we explore the music of cinema and television.

After his band, Pop Will Eat itself disbanded in 1996, Clint was introduced to the business when

Darren Aronofsky asked him to score pie. The pair have collaborated several times since as part of

the total body of work comprising of around 50 films.

During the course of our conversation you'll hear extended extracts of Clint's work on Highwise, Moon, Pie, Black Swan and Requiem for a Dream.

But we begin in the iconic venue in which this interview took place, Air Studios in London,

with the main theme from the very first score he recorded there, namely The Hole.

This is a bit of an amazing situation.

I'm sat in Air Studios in front of what looks like a spaceship control setting with Clint Mansell.

Clint, thank you so much for your time and for inviting us here into Air to do this as well.

My absolute pleasure, thank you very much. I'm always happy to spend time at air anytime.

What have you done here? Well, I mean... A lot.

The first thing I did here was in 1999 and I did a film called The Hole that starred Kira Knightley.

And I was living in New Orleans at the time and it was my third film, I think. We had actually done a recrium at Skywalker and I'd learned a lot there, but coming here, Chris Barrett, who's like, you know, one of the guys who's still here, me. I just didn't really know what I was doing in those days, you know, so me and Ian had to sit up. I got here at like about 6 o'clock on the night and we stayed up until like 6 o'clock the next morning putting a click on every track that I don't, so I didn't know you how to do that you know so that's the thing I love about air is like and also as well in

fairness what I've found in general

with the musicians and this side

of it is like nobody's judgmental

of like oh you don't know how to do this

all they're interesting is have you got some good ideas you know so

this has always been like a really

...