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."

I'm a geek and I'm a nerd, and I can listen into any piece of music. I think, I can usually tell you what orchestra it was, I can usually tell you what hall it was in. I can tell you, obviously who the conductor was, and who the composer was.

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.

You can only make a good noise on the guitar if you're committed. Little careful noise doesn't work. You have to be bold.

A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.

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

As the seconds of our lives are ticking away, you have to realize that life needs to be an adventure.