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 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 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.

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

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.

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