When you're writing something new, writing something that's your own, basically you have nothing else to do except either invent a trick, use someone else's trick, or have no trick and get a bad performance.

For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.

I'm trying to phase out my availability on the phone. People call you when you're walking down the street and say the most random stuff.

Even more than in the concert hall, in church there are things you can and cannot do, just out of respect. You would never have the sound of someone being nailed to a cross, or the sound of a child being born, because everybody knows the story. We know that we're meant to feel a complicated raft of things.

When you're writing something new, writing something that's your own, basically you have nothing else to do except either invent a trick, use someone else's trick, or have no trick and get a bad performance.

As a composer you want to tell musicians two completely contradictory things. You want to say, "Play exactly what I wrote, but bring your own thing to it." In a lot of ways they feel like opposites, but in a sense, my job is to cajole or encourage decisions that I approve of.

Every couple weeks I'll listen to Sibelius's Seventh Symphony, just to check in, to see how it's doing. It's doing OK.