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

Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction.

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.

You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!

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.

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

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.