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"Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction."
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"In the first place, Descartes stands for the most explicit and uncompromising dualism between mind and matter."
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"I think Col. North is first a U.S. citizen and he has the same rights as you yourself do, sir."
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"The first and most fundamental issue of sin is pride."
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"I was very fortunate to hook up with Jerry in the first place. The network was already committed to doing something with him, so I skipped a couple of hundred steps right there."
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Personal Development
"I'm a songwriter first."
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"The first cut is the deepest."
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Personal Development
"I made my first complete song when I was 9."
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"I met Elvis first in Las Vegas. I think I was appearing with Tom Jones and he came backstage to say hello to Tom or we went to his dressing room to say hello."
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"First and foremost, I consider myself a songwriter."
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"When Seymour saw me seated at the piano at that first rehearsal, he shouted: 'What's that kid doing here? Call your piano player and let's get started.'"
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"I don't see myself necessarily having a burning desire to write a symphony."
Desire
"In Tim's films, more than most, if you miss the tone, you don't get the film."
Film
"You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff."
Right
"I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging."
Work
"Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room."
Reason
"Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call."
Music
"So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses."
Dance
"I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time."
Time
"The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action."
Action
"Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction."
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