जीवनी

Uses elements from the characters' culture in the music, i.e. tribal chants in द लायन किंग (1994), guitar with vocals in ग्लैडियेटर (2000) and ukulele in Pearl Harbor (2001)

Seamlessly mixes synthesizers with real instruments and soloists. Often uses solo cello and acoustic/electric guitar

Frequently works with DreamWorks Animation

Frequently works with directors Ridley Scott, Gore Verbinski, Ron Howard and Christopher Nolan

Famous for his frequent use of what is known as a "Bwaum" wherein a major plot point is revealed and the music blasts out a single note loudly

Completely self-taught, he learned everything he knows through collaboration and experimenting.

His favorite movie theme of all time is from Assault on Precinct 13 (1976) by John Carpenter.

He told in an interview that he would retire for some years after बैटमेन 2: द डार्क नाईट (2008), saying he has been exhausted in the past years. He also said that he wants to help young composers and would produce their scores. His future plan is also about touring the world holding concerts with his own music.

आखिरी योद्धा (2003) marked his 100th score.

Inspired by Ennio Morricone's The Mission (1986).

I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with द लायन किंग (1994), I wrote over four hours' worth of tunes, and they were really pretty - but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide (1995), on the other hand, I just went in and within seconds I knew what I wanted.

I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing.

I don't drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don't think about it any more. Good tunes come when you're not thinking about it.

If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.

You have to remain flexible, and you must be your own critic at all times.