I grew up in a house full of music, and a house that didn't have a television. We had a piano, but no television. And really, I very quickly realized that this was, you know, there was magic there, there was magic to be had, you could lose yourself in it, it was a refuge, it was joy, it was all of those things.

Trust me, if you're working on a $70 million movie and you're the last guy, you feel all that weight on your shoulders.

I have to give credit to Giorgio Moroder ; among the first to make us realize the importance of music in film.

When I was 13, when I was 14, when I was in England, yeah all I wanted to do was go and see The Who, go and see The Stones.

A violin is nothing more than a piece of wood and a dead cat. But it's a piece of technology. So when computers came along, in the '70s, I suddenly thought, hang on a second, this is interesting. These things can become an instrument. So I just became very interested in them, and started, playing with electronics.

I'm homeless, in a funny way. My culture I think is completely rooted in German 19th century music I suppose.

The challenge in scoring a sequel is, how do you not get bored? The only way around that one is to go, "Okay, let's throw everything out that we had before and let's just see it as an autonomous movie, and let's just start again."