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You have to change your mind with every orchestra because every orchestra has a different character.

There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.

When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.

I love working with an orchestra, but there are many ways to make music.

There's not an orchestra in the world that doesn't have weaknesses. None of us can play everything well. The repertoire is just too big.

I currently spend a lot of time thinking about orchestration and every detail of a piece.

There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.

It was both exciting and frustrating to work with an orchestral group.

The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.

It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.