I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.

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.

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.

The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult.

That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening.

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.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

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.

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.

Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.

It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.

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.

You're allowed to rip-off another score so close that it's ridiculous. In my opinion it's ridiculous, how closely one can just rip-off a score that happened a year or two earlier.

So I've learned in the past, if a company approaches me and they want something like this, or something like that that I've done and I turn them down, they're going to do it anyhow.