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.

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

It often feels like a tremendous amount of work is required to get an idea moving forward, like pushing a train uphill. But at a certain point, the thing takes on its own momentum, and takes unexpected turns. So it's that feeling of holding on, rather than pushing it, that is the most exciting thing. It's that need to occasionally bounce off the walls, letting anything happen for any reason, and having nothing to guide you that is the joy.

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

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.

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.