What are you going to do when you are not saving the world.

I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.

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.

I get all my good ideas sort of at one o' clock in the morning, and I tried for a while to behave like normal people.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

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

All music is based in one way or the other, or influenced through the ages, on technology.