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.

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.

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.

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.

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

It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do.

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