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.

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.

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'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.

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.

Sometimes on a film you just become taken with the fact that, all right this is as rough as it gets, but I'm going to support my general and I'm going to do the very best I can for him because he's a good general and I like him.