You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.

I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.

You are spending millions and millions of dollars of other peoples money when you make a movie. You have to at least approach it in a way where you can see how you can make that money back for the people who are investing.

I'm a cruel man to myself.

I think there is also a certain degree of expectation that's set up by trailers, where even if you know what's going to happen in parts of the film based on the trailer, you almost anticipate and look forward to those moments based on having seen the trailer.

You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.

Sometimes there's a disjoint between what works on the page and what works with visual story telling.