I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.

There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.

I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.

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.

I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.

When you're working on a film, it's intense and it's very all-consuming. There's not something in particular.

The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.