You know, I'm really not that competent at describing things musically.

It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.

I had the standard movie geek childhood, because for as long as I can remember, all I wanted to do was make movies.

To make a film, the final big collaborator that you have is the composer.

My dad was this sort of avant-garde guy who did all kinds of weird things. He was a true original and anybody who met him never forgot him.

I am always looking for that nuance, that moment of truth, and you can't really do that fast.

There’s a lot for screenwriters to steal from songwriters, in terms of getting to the point.