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.

I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.

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.

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.

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.

When you start on a new film, no matter how many you've done before that, I think I've done close to 80 films, but it's always kind of a fun adventure.

The piano is really the featured instrument of a 10-piece chamber orchestra. The construction is the harmonic language.