You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.

Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call.

The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action.

You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.

Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.

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.

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.