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.

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.

Nothing bad ever happens, why should I care?

I don't see myself necessarily having a burning desire to write a symphony.

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!

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.