I try to talk as little as possible, unless I see something that I might disagree with.

A lot of modern film scoring is about a lack of themes, so I try to find ways of using music that doesn't necessarily have thematic material in it to make the points when there is thematic material even stronger. It's cool to be able to combine old and new.

I try not to make any boundaries. I try to let all art influence me.

When a musician is conveying that fresh feeling, that's what appeals to me, even more so than the style.

What I love about film scoring is that all the answers are in the story. You just need to get in tune with the story and realize it musically.

For me, when I watch something without music, I'm instantly thinking, "Okay, what am I going to do here? How am I going to convey this?" I take notes and really think about that.

I'm interested in finding sounds and ideas that help bring the audience into the world that we [moviemakes] are all trying to create. Sometimes that's with synthesizers, and sometimes that's with French horns. I love using all of them, depending on the scenario.