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Unless you're blind or have just been ignoring me (understandably), you'll have seen me wanging on about doing a Q&A with five-time James Bond film score composer David Arnold at London's Prince Charles cinema last week. The evening came and went without any major disasters (although I wore a waistcoat in an attempt to smarten myself up and promptly spilled olive oil down it just before the interview, and that shit does not budge) and Mr Arnold was in fine fettle, spilling a small amount of beans regarding his work on Casino Royale - a screening of which followed the Q&A - and other films. If you weren't among the many millions of people who crowded into the 285-seat auditorium that evening, I've handily reproduced most of what Mr Arnold had to say below; I had to edit out all the bits where he went on at length about how much he loves The Incredible Suit because it got embarrassing. Your score for Casino Royale is a lot more organic and less electronic than previous Bond scores That's correct. So how did that decision come about? Was that you, or the producers or the director? I think with Die Another Day, someone said that some of the music was a bit over the top, and I was thinking, 'would that be for the scene where the guy who was a DNA-changed villain who became Korean – no, he became western, he was Korean – tried to kill James Bond with a space laser operated by a remote controlled arm-device while they were escaping from a melting ice palace?'

That film had levels of extremity of all sorts of things in it, and the music has to react to what we're seeing. Really can't see why people found this silly When I read the Casino Royale script we hadn't cast Daniel, so it was really interesting reading the script and thinking 'I've got no idea who James Bond is going to be'. With Pierce, you kind of knew the inflections, you knew his mannerisms and the style and you could kind of picture the way it would be.