For me, writing something in the spirit of Halloween is like Mother Teresa writing on charity and sacrifice. It's just second nature to me.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.
If there's one thing I really love... it's sad music.
It often feels like a tremendous amount of work is required to get an idea moving forward, like pushing a train uphill. But at a certain point, the thing takes on its own momentum, and takes unexpected turns. So it's that feeling of holding on, rather than pushing it, that is the most exciting thing. It's that need to occasionally bounce off the walls, letting anything happen for any reason, and having nothing to guide you that is the joy.
In Tim's films, more than most, if you miss the tone, you don't get the film.
It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
I'm so happy dancing while the grim reaper cuts, cuts, cuts, but he can't get me. I'm as clever as can be, and I'm very quick but don't forget; we've only got so many tricks. no one lives forever.
The idea of performing some of Jack Skellington's songs from The Nightmare Before Christmas live for the very first time is immensely exciting.
I don't see myself necessarily having a burning desire to write a symphony.
It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do.
You'll never get me into a tux. Not until I'm dead and I have no choice because that's what the undertaker put me in.
I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.
Nothing bad ever happens, why should I care?
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.
Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat.
