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A scene has to have a rhythm of its own, a structure of its own.

Everything goes in cycles in the music industry.

I'm driven by the idea of characters and the song-cycle form is similar to a musical.

When you look back on music history, it falls into these neat periods, but of course, the period you yourself are living through seems totally scattered and chaotic.

Beautiful film music can be made relevant to any period.

At one point, some years ago, a nice gentleman had it in mind to do 'Outlander' the musical. His idea was to start with a CD of what you call a song cycle, with a dozen high points of the projected show. It turned out very well, though we had to stop doing it when the TV show came along.

There are so many people from many different classes and ways of life who converge in one space to make a musical.

Music is so crucial to every film, I think.

To me it's no accident that all the symphony orchestras around the world tune up to the note A. And A is 440 cycles, except in Germany where it's 444. But the universe is 450 cycles. So what I'm trying to say is, I think it's God's voice, melody especially. Counterpoint, retrograde inversion, harmony... that's the science and the craft.

Musicians are in-season all the time.