I think it's good for the composer to teach because you always have new students and you have to begin at the beginning and make things clear.

I always conceive a piece as a different set of challenges.

I'm glad I won it because when I grew up the Pulitzer was the award that every composer wanted and I was like that too.

If you take a violin, you can make it sound 50 different ways. Not just pizzicato and played by the bow, but ponticello, and harmonics, and tremolos. If you take an oboe and play it, there's about one way you can make it sound: like an oboe.

What I think of as style - and I've gotten to this over years of really thinking about it - is that style is the unconscious choices I make.

I don't think that the Pulitzer should be given the way it is. I think the competition should be anonymous. I think completely different people would win it if the names were taken off because a lot of it is done on relationships and names.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.