The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.
The French Revolution is the ultimate modernist statement. Destroy everything. Don't build on the past. There is no past.
I'm glad I won it because when I grew up the Pulitzer was the award that every composer wanted and I was like that too.
You become a great composer when you win a Pulitzer. But I think that now it's a completely meaningless award.
I don't think that the Pulitzer should be given the way it is. I think the competition should be anonymous. I think completely different people would win it if the names were taken off because a lot of it is done on relationships and names.
Eighty percent of my pieces gravitate towards an A, as a tonal thing, not at the beginning, but somewhere in it.
I have tremendous respect for film composers.
