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

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.

In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here.

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

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.

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 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.