But it may be worth paying closer attention in the future as it could well have been composed in a studio on the outskirts of Knottingley at the home of Tim Atack.

The 50-year-old musician has been composing music for films and TV programmes for the past ten years and recently caught the eye of comic and director Ricky Gervais, who appointed him sole composer for his current film The Invention of Lying.

After completing the score and recording it with a full orchestra in London, the former Pontefract King's High School pupil was whisked off to LA for the premiere a couple of weeks ago and is already working on Gervais' next film, Cemetery Junction (where he can also be spotted as an extra, playing the drums in a social club).

Not bad for a lad who had to rely on a drum kit made from "odds and sods" to hone his musical talent while growing up on Chequerfield Avenue in Pontefract.

Tim said: "The Invention of Lying has definitely been the biggest thing I've done – in terms of status and budget. It's a Hollywood film. We recorded it with a big orchestra, which is always a nervy moment.

"Sometimes your expectations are so great and it can backfire on you. But this time, from the moment they struck up, my confidence was restored. It all kind of came together. There must have been about 75 players but most of the tracks were made in one take."

He said Ricky Gervais was great to work with as a director: "I was big a fan of The Office and Extras and before I met him, there was that feeling of 'what's he going to be like?' But as soon as I met him, I knew we were going to get on. He's very instinctive. He doesn't dither and go back and change his mind. He is very positive and very generous with his energy. He doesn't use his status to put himself on a pedestal and doesn't play the big star."

And Tim would know a bit about that, having had a taste of stardom with his band Child, which he formed with his twin brother Keith in the 1970s.

The band's biggest hit was It's Only Make Believe which reached number 10 in the charts in 1978 and led to several appearances on Top of The Pops and gigs at top venues such as the Rainbow in London.

Tim said: "Child had a magic two years, from 1977 to 1979. But the whole scene was changing. We were a pop rock band but we were up against punk, which was a real explosion. In a sense it kind of blew everything else away. And I was becoming a bit disenchanted with what we were doing. I had started writing songs and wanted to play them, and for us to make our own music.
"But the record company wasn't really interested in that."

Tim threw himself into writing music and mastering the new technologies of the 1980s, while also supporting himself by touring – and or doing gigs – as a keyboard player with the likes of Bryan Ferry, David Cassidy and Oleta Adams.

But it was his collaboration with British singer Des'ree which became Tim's lucky break.

While touring the world as her musical director, Tim and Des'ree were improvising music together one day when they came up with her hit record Kissing You.
The song was snapped up by Australian film director Baz Luhrmann for his 1996 movie Romeo and Juliet – and the rest is history.

Tim said: "It was one of those lucky breaks. After that, the opportunities opened up and I was getting calls about other film and TV projects. I had thought about film composing before but I had never really had a burning ambition about it. I didn't really know how to get into it. It probably wouldn't have happened if it wasn't for that song. I immediately embraced it though, because the music I write seems naturally geared to films. I found I was really in my element."

Interestingly, Tim said he has never been a big fan of films in the past.
He said: "I'm not a film buff at all. I have seen a lot more movies now since my involvement in films. I have become more mindful and educated in how films work. I watch them now from a different perspective, which makes them more enjoyable.

"A lot of people say to me they never really notice a film's music. But if you took the music out, you would really miss it. I always care what people think of my music and I like it when people say they liked the film. I wouldn't take it as a compliment if someone said they didn't like the film but they thought the music was good. The whole point of the music is that it serves the movie properly and makes it a great movie."

He added: "I really do enjoy what I do – when it's working well. I have to say it's given me some intensely stressful moments. When you're working on a difficult scene and what you've come up with hasn't worked. But when you're really nailing it, it's great."

And despite jetting all over the world, Tim says he likes nothing more than returning home to Knottingley and going for pint in his friends. He said: "I always find the time to pop out for a pint, rather than slaving away in the studio, having a nervous breakdown. There's no-one to talk shop with and I find that really helps. It's great to be in LA and New York and places like that because of the reason that I'm there. But I love coming back to Yorkshire. I can safely say I would never live anywhere else."