From that point where you go, Yamin, is there an element of research and exploration for you? Or does it start in terms of you feeling your way around what you think the instrumentation or the sounds or looking at themes? What is the kind of jumping in point for you after you've said yes and you've read that script?

Well, I mean, normally I follow straight away my intuitive feeling to what are the components that make the film interesting.

And there is obviously an emotional story.

There's also the connection to his family that he has to leave somehow and doesn't know at some point also where they are, which we obviously then find out at the end.

But there is also the scientific element of it, which I think is...

I mean, I'm a big fan of maths, so I was always a big mathematic nerd in a way.

You know, I loved solving problems, you know, programming computers, you know, developing procedures in a kind of programming in formulas in a way.

Talk to me through kind of your journey of kind of finding what the right instrumentation was for certain things and feeling that and finding that for the first time and taking that on.

really

depending on the film and also when I start.

For example, on Lion, I started very late.

On All Quiet on the Western Front, I started very late.

The film was already cut.

So... at the end i'm still wondering what is better you know is it better to wait until the film is finished and then get started because that gives me a lot of more it is a much more squeezed in a way you have to work very quickly But at the same time, it gives your intuition quite a weight because you have to do something and then it sits there and you're not trying to do this and then that.

Oh, no, I have to do that.

Yes.