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The sarangi, the ney flute are pretty ancient instruments.

When you see 'Lord of the Rings,' you want to feel like you've been dropped into it and that you're part of it. You don't want to be aware of how it's being done; you just want it to feel really seamless.

I always believed 'The Fly' to be a classic opera story. It's a tale of love and death, true love surviving in the face of physical decay and ultimate sacrifice.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

I love working with an orchestra, but there are many ways to make music.

The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.

A lot of what a composer does has to do with storytelling, and there are different ways of fusing music with picture to express different storytelling ideas.

My first score for 'The Lord of the Rings' trilogy, 'The Fellowship of the Ring,' was the beginning of my journey into the world of Tolkien, and I will always hold a special fondness for the music and the experience.

I read all of the books by Tolkien, including 'The Hobbit,' when I was in my twenties, and his deep love of nature and all things green resonates deeply with me.

'Hugo' is made in the classical style of the 1940s.

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