Clint Eastwood. Here's a guy who's been involved in so many movies, lots of them masterpieces, and now he's a director. I just like everything I know about him. He's very decisive, he makes up his mind real quick. ↗
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction. ↗
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. ↗
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. ↗
I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that. ↗
I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with. ↗