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We first started to rent old VFW halls in Philly or whatever; we rented kegs and did parties and played our own music. We had to find a way to do it because nobody else was helping us, and I think now it's important to keep those dialogues happening, those parties happening.

I grew up with music hall and revue and was used to filling in the little gaps here and there to get bigger audience reaction.

Music is a performance and needs the audience.

We'd go to the fraternity house. It was a good place to practice. But we really wanted the kids to overhear us. And whoever heard us would go nuts over it.

When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.

The idea of dancing to bad house music is something I could never get behind.

The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.

In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.

Growing up, I had one very specific idea of what a wedding should be, and that was the wedding of Fraulein Maria and Captain von Trapp in 'The Sound of Music.'

This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.