That's what I love about film scoring. Every situation is new. Every show is a new adventure.

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.

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 have to put myself back in the audience's shoes and figure out what they would know and not know. But, there are also times when I do know what's coming up and I maybe need to hint at it, though not in a big way. It's a little bit of both. It's an interesting tightrope to walk.

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.

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

One important thing, just being a film composer in general, is to have a great respect for the art that you're working on - a great respect for the film and a great respect for the filmmakers.