Danny Elfman

I don't see myself necessarily having a burning desire to write a symphony.

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In Tim's films, more than most, if you miss the tone, you don't get the film.

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I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.

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It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do.

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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.

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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!

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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.

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I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

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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.

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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.

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