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You tend to do programmes that
champion new music - is it a challenge establishing those
kinds of shows in the commercial arena?
“Absolutely.
The commercial media feel they need to preserve a ‘safe’
status quo. They’re afraid to change, immediately assuming change
to be ‘radical’. People need to have faith, like Christine
Boar at MTV. She was very receptive when I approached her with
my ‘Megamix’ show idea [a 30-minute dance mix where the videos
were mixed as well as the tracks] – so much so that it was on
air two weeks later. Similarly, the Sci-Fi Channel gave me
free reign on 'Headfuck', an eight week run of four hour
programmes where plenty of new and alternative music was
championed.”

What does your film work involve and how
did you get into it?
“I've ‘music supervised' several films. Music
supervision can involve anything from suggesting existing
tracks for scenes to finding and working with a composer on an
original score. The job also normally involves the
nitty-gritty of clearing, licensing and negotiating rights to
use tracks in the film and on the soundtrack.”

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