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

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 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.

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

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.

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

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