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.

Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call.

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.

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!

I took part of Alan Silvestri's theme on the original movie, which I really liked, and I pulled it into it new theme, which became kind of a hybrid. I really enjoyed that.