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I came across a lot of young composers who have got passion but lack experience. I want to help them out.

All great composers of the past spent most of their time studying. Feeling alone won't do the job. A man also needs technique.

I'm not a frustrated concert composer, and the concert pieces I've done have been a small part of my work. What I've sought there is instruction, variation from the demands of film and relief from its restrictions.

As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.

When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

The rehearsal process is the most important thing to me, so working with colleagues who are effusive, thoughtful, young and vivacious is really inspiring as a musician.

I like to do everything I can to avoid rehearsals, even while we're rehearsing.

So many times, I've seen conductors that, every time they have a thought, they stop the orchestra and say it, and I can see the orchestra rolling their eyes and saying, 'Oh, God, he stopped again.' So there's a technique to rehearsing.

Music is a very big part of my preparation as an actor.