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When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

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.

In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.

When you conduct opera, you control the stage. But with a film, the film controls you.

The music's job is to get the audience so involved that they forget how the movie turns out.

I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.

Music is one of the important things for me in cinema.

Now the big question is if you are going to go to all the trouble of setting an opera and making all that music and so on, there's got to be some aspect that you can do in an opera that really makes it worth while.

Directing an opera is similar to directing a play. The singing must not get in the way of the drama.

Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.