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I've always been a composer dependent on texts.

I am writing something which I find satisfying and which I am prepared to put my name to as a composer.

Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.

A lot of what a composer does has to do with storytelling, and there are different ways of fusing music with picture to express different storytelling ideas.

I just have to take my chances like any other composer.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

I think that one of the things that influences me most as a composer is to what extent I can deconstruct and reconstruct the material that I'm working with.

When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.

All my books are about one major idea and two or three subsidiary ones. I have thought a lot about music when constructing books, and I like the way in music that themes come back.

I don't use composers. I research music the way I research the photographs or the facts in my scripts.