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

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 like to do a lot of research on all of the films I work on. So, I like to read a lot. That's always an interesting part of it with me.

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 look at the film without any music or sound. I try to grasp the story from the screenplay. I try to write to the novel or book if there is one. I try to create music that's honest and true to my heart for the 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.

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