I've spent my life trying to make things simpler. Because I find ultimately that complicated doesn't reach the heart.

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

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.

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.

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.

The main thing the composer needs to do is it needs to remember that the director is there to cheer you on. The director wants you to succeed because if you succeed, you'll be helping the film. And they are truly your conscience. And they're truly your guide.