It was always very important to me to be able to get involved in diverse situations. The biggest challenge for an arranger is to be able to deal with different styles and personalities. But it is even more important to make sure that the artist achieves its goals either musically or even commercially. It´s also essential to work with the record company to make sure that they are happy enough to spend good money in promotion for that particular project. It would be a very serious mistake to go against the record company or trying to impose your musical "views" into a project that needs your help and specific work done.
Q: Breathless put you at the center of the French New Wave. Were you surprised?

A: I was out of work and needed the money. The producer asked Columbia, which then owned my old Preminger contract, if I was available. He gave Columbia a choice of $12,000 or 50% of the world profits. With great foresight, Columbia took the $12,000. It was shot for $76,000 in five weeks. Most of the time we worked half days. We'd break and sit around in cafes. One day the producer saw us, it was his last card, and he got into a fistfight with Godard because we weren't working.
Q: When will your next solo release come out and what can we expect from it?

A: I don't know and I don't know.