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A lot of the music editing job is communication and working out what a director really wants the music to be.

It's an important thing to have a relationship with the director, and have it be a positive one.

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

There are so few directors who are musical who appreciate music.

Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.

I've never had an easy relationship with critics. I hold a lot of homicide in my heart. If this was another time, I'd be packing a piece.

That's why I do this music business thing, it's communication with people without having the extreme inconvenience of actually phoning anybody up.

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.

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

If everyone in the music business were brutally honest about what their intentions were then you could sort things out, but it's all smoke and mirrors.