For me, writing something in the spirit of Halloween is like Mother Teresa writing on charity and sacrifice. It's just second nature to me.

This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween.

In Tim's films, more than most, if you miss the tone, you don't get the film.

I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.

The idea of performing some of Jack Skellington's songs from The Nightmare Before Christmas live for the very first time is immensely exciting.

So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.