With film music, endings are often more difficult than beginnings, because a beginning is an underline, a way of exciting a moment, and then you have to find a way to dissipate that.
There were moments in 'Malala,' I felt very moved by the storytelling, and 'pleased' would be the wrong word, but the music could be part of what moved me: that I was trying to contribute to something that was meaningful outside the realm of creative work but just more in terms of the world.
When you see an early edited version, you're not sure what it is. The movie is getting on its wobbly legs.
'The Starship Avalon' is perpetually mobile. The music is designed to give the impression of endless sleep and endless journey with a significant interruption that guides the story that follows. It's color and pulse followed by great size.
If you fail, fail fast enough so you can regroup and do it better.
Post-production is kind of the death of hope. The money has been spent. The grand ideas are either there or they're not there. So music oftentimes has to compensate if there are issues, or it has to stay out of the way if the movie is working really well.
