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.

If there's one thing I really love... it's sad music.

I took part of Alan Silvestri's theme on the original movie, which I really liked, and I pulled it into it new theme, which became kind of a hybrid. I really enjoyed that.

It often feels like a tremendous amount of work is required to get an idea moving forward, like pushing a train uphill. But at a certain point, the thing takes on its own momentum, and takes unexpected turns. So it's that feeling of holding on, rather than pushing it, that is the most exciting thing. It's that need to occasionally bounce off the walls, letting anything happen for any reason, and having nothing to guide you that is the joy.

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.

I really look forward to revisiting this body of work which has been such a huge part of my life and bringing it to the concert stage. And the idea of performing some of Jack Skellington's songs from The Nightmare Before Christmas live for the very first time is immensely exciting.

I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.