The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.

In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.

When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.

I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.

There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.

I often use the same harmonies as pop music because the complexity of what I do is elsewhere.