In 1997, while I was editing ?Snow Falling On Cedars? I used a track of Philip?s music as ?temp? (what filmmaker hasn?t?) for a powerful sequence we were working on.  I made contact with his publishing company Dunvagen to enquire about licensing the track, and formed a connection with his manager Jim Keller.  It was Jim who encouraged the start of a relationship between Philip and myself, and over the next few years I enjoyed a number of his performances from Los Angeles to Sydney, taking both my sons to see Philip and his Ensemble play live to screenings of movies.