I was pretty lucky to have grown up during the 'Star Wars,' 'Indiana Jones' and 'E.T.' years.

There have been several movies that I've done over the years that have got a bad shake - 'Speed Racer' was one of them. I loved that movie, and the fact it got such a bad reception was disheartening.

There was a paperwork mishap on 'War For The Planet Of The Apes,' in that the end credits was simply called 'End Credits.' And that's what appears on the album. Once we realised that was out there, we were so ashamed.

My great uncle, my mom's uncle, had an appliance store in Philadelphia, and it was called Peter's TV. They sold stereos and televisions and washers, dryers, all kinds of stuff.

As a kid I was obsessed with monster movies.

For some reason, as a kid, I felt outwardly embarrassed to say that I liked rock music. I don't know where that came from. For me, it just wasn't cool - orchestral music was cool.

I grew up with so many different sounds, and 'Lost' allows me to express all of it, the melodic and the atonal.

You've all seen movies where the music isn't working with the story. And it's either because... the story isn't working itself. Or the composer kinda just wants to write whatever they want to write, not paying attention to the thing.

I grew up listening to every style of music you can imagine, and I have a love for all of it.

People on 'The Incredibles' would ask me if I listened to a lot of spy scores, but no, I don't.

I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.

I think that one of the things I'd learned from being so attentive to the careers of the people I've admired is the fact that they would say 'no' a lot. Early on, I took that as a cue to only work on things that I knew I would be passionate about.

When I was a kid, I wanted to make movies. In particular, I loved animation and would love to have been an animator.

I think that to capture food in music, you really are capturing an emotional response to food.

If you look at my credits, most of them are the same directors over and over.

That's the time I remember as a kid, being so excited to go to the movies. To be part of that now is really an amazing gift.

I grew up listening to 'Planet of the Apes' and other scores, and it was fun for me because you weren't just listening to those scores, but you were also questioning what you were listening to. What are those sounds?

For me, the music is always speaking from the point of view of the characters. Rarely do you score an event.

Because of John Williams, I began collecting all kinds of film scores. I listened to them when I fell asleep, and it was through my obsessive listening that I learned what all the different parts of the orchestra were. I learnt a great deal from him by just simply listening.

I used to do puppet shows as a kid - me and my brother would do them - and then any poor soul who came into the house had to sit and watch our puppet shows.

'Lost' is such a thematic show that I'm always afraid that if I know something's going to happen at the end, I'll subconsciously write something in where someone who's astute will go, 'Oh, he used so-and-so's theme: that must mean so-and-so is coming back!'

I have an uncle who was heavily involved in World War 2, so over the years, I've talked to him many times.

Nothing can grab you by the throat - or heart or soul - like an orchestra. It's undeniably the most engaging and exciting way to bring a score to life.

When I was 9, I saw 'Star Wars,' and it set me on a path to where I am today.