I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something.

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

You have to remain flexible, and you must be your own critic at all times.

The honest truth is that it was just traumatizing with the piano, with the authority of the piano teacher, getting rapped across the knuckles, and so whenever you put a piece of music in front of me, there's a Pavlovian reaction where it starts off.

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've spent my life trying to make things simpler.

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.