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.

I've never tried to work chronologically. I don't think I have the discipline to do that.

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.

I'm not in a position in my career where I turn things down. I'm very easy. So the projects often dictate the direction you will go in. I welcome things that challenge me.

Singer/songwriters spend two or three years making an album, and then it goes up for sale and everybody pirates it and you don't make any money. Whereas, writing a film score you still get presented with a paycheck.

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.