I had great inspiration from a Japanese composer named Toru Takemitsu. He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.

Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings.

The technology certainly changes. I think, in terms of making films, that's been the biggest change. But many things stay the same. I mean, there's still stories to be told. There are scripts that give you a good guide and insight into the film.

The techniques of different directors are very different, and people have different ways of expressing ideas in film. I'm happiest when working with a director as I would be if I were an actor. I'm wanting to provide a really good performance.

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.

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

I live in Tuxedo Park, N.Y. and spend time in the West Village, where my wife Elizabeth Cotnoir, a writer-producer and documentary filmmaker, has an office.