And as I've gotten older, I've had more of a tendency to look for people who live by kindness, tolerance, compassion, a gentler way of looking at things.

Sometimes God picks you up and tells you, "You've been messing around now. You're going to have to stop this, stop that, but I'll give you another chance." And you wonder why you're given another chance. It must be for something; it must be to celebrate life.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

The problem with anger is that it's so consuming. You've got to take it easy on yourself at a certain point.

Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.

Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.

I'm trying not to let the anger and the violence that erupt take over my life. I guess it comes with the growing process, I don't know. A little mellowing.