If you want to survive in the film industry, it's not about fighting for your visions because that's a given. It's thinking about how much is your vision going to cost, and then, what are the consequences, because you may have $100 million, but the reality is that $100 million needs to make $500 million to be a success.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

The more I come to understand music, the more I feel like a numbskull because there is always more to learn.

I like challenges and I definitely would like to be more of a chameleon.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

Pop music is a fashion, and fashions come and go. The public retires you as their tastes change.

There's nothing worse than a director that keeps changing their mind. Because, unlike the directors I work with, I'm not decisive at all.