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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.

Usually music is used to hide a film's problems.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.

You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.

The director's job should give you a sense of music without drawing attention to itself.

I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.

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 experience of a film is immersive, and music is supposed to underline and help that experience.

In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.