You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

Piano is very elegant. I also think it's a very truthful instrument.

I have to feel something emotionally on the story to be able to write for it. I turn things down if I don't feel I'm really right to tell that particular story.

Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.

Film music really is about point of view and you can shift it wherever you want really depending on how you look at it.

You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.

I grew up in repertory theaters, so it was comedy one night, drama the next. I'm used to going from one to the other. And I worked for years in television as well. So, I like the interrelationship of it and having a good relationship with a group of artists creating something really where the sum is greater than all of our individual contributions, our parts.