I aim to create a moment of magic in every piece of music, which cannot be forced but must flow intuitively.

Rhythm is not important in my piece, and I often focus on the flow rather than strict rhythmic structures.

The Alberti bass, a typical accompaniment style used by Mozart, serves as a traditional background in my compositions.

To avoid clichés in my music, I use anti-romantic techniques to clean out the harmony and prevent banality.

I dislike repeating clichés in film music, as they often lead to banality and lack of originality.

I use a structure of minor and major chords in music that has popular or traditional flavors, primarily for contrast. Minor keys are often labeled as sad and major keys as happy, but this classification is nonsense; the truth lies in how you manage tonalities.

In my music, I avoid standard major and minor tonalities, often using poly-modal harmonies instead.

I find Mixolydian and Lydian scales very useful for creating interesting patterns in my music.

My music is non-standard because I don't prioritize melodies; instead, I focus on harmony, tension, and other aspects that support the melody.

The 19th-century idea that melody is the queen of music is outdated; I aim to reflect rather than imitate or be impressed by dramatic elements in my compositions.

When composing for film, I prefer to create reflections that serve as a counterpoint to the image rather than simply mirroring its drama.

After completing a piece, I feel as if it is no longer mine; it has its own rights to develop and exist independently.

The process of creating music is like giving birth; once a piece is finished, it becomes its own entity.