I try to communicate with the musicians the way I communicate with the filmmakers. I'm not going to say to them, can we be a little bit more presto here. Hang on, this should be a bit more exciting, or I try to explain the scene to them, or I try to explain the context the notes are supposed to live in.

If you talk to any director, they'll say music is fifty percent of the movie.

The first thing I think about is music, and the last thing I think about is music. I'm like some Monk. I don't see a lot of daylight. I hang out with musicians, I hang out with directors and I just try to spend as much of my life as possible playing music.

The lack of education means, the lack of having something I can pull out of a drawer, means I have to find something in any movie I work on that is intensely personal.

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 think one of the things which always is forgotten in music class, is the first thing you have to do as a musician is you have to learn how to listen.

I loved this idea of always being a foreigner. There's this thing where people bring cultures, bring the music together. I love it when the music, when the cultures collide and something sort of new comes out of it.