The day before yesterday I was at the press screening of Fantastic Beasts and where to find them. Was there any involvement by J. K. Rowling into the music, did you see us on composer and what was her involvement? You know I haven't met J. K. Rowling but I'm sure she was involved. I'm sure that everything I wrote she heard and had an opinion about because she's obviously very careful about everything having to do with her movies. I never had direct contact with her but I was hired by David Yates the director. I'm always hired by the director. We can hear John Williams' headlicks theme at the beginning of the film. Was it hard for you to convince the producers and the directors that they don't have it continuously in the movie just like the James Bond tune because everybody knows that tune and it's better for the franchise if we hear headlicks theme throughout? Well yeah obviously there's a lot of discussion about that and in the end I think we all felt that we needed to have headwigs theme in the very beginning over the logo just to brand it and let everybody know and it's so fun to hear that theme and to know you're back in the Wizarding world. But we also felt that this is a new franchise, that this is 70 years before Potter comes along and that for the movie to really be a success and the music to be a real success they really had to stand on their own two feet without having to lean on Harry Potter. And that's what we tried to do and I hope people feel like we made the right choice. Do you feel like we made the right choice? Yes I do. Because I have seen the film. That was an opportunity if you say oh yes you made the right choice. Did you use the temp music for this film and could you choose your own music to put in? There was temp music in the film. There was a little bit of Potter in it. There was music from all kinds of interesting sources. I did not get to choose the temp music and you know it's sort of like target practice for me. You pick one I want to get that one out of the movie so you write that cue and then you want to get that one out of the movie so you write that cue. Some of them were very hard to replace because some of the temp music works very very well and as I think if you were at the little talk I gave and some of them were not going to have them required many many versions like the main title, the main theme which we finally ended up I think on the right choice but it took six months and 40 some versions to get there and I think that's one of the advantages of being on a movie for that long is you really have the opportunity to keep trying to get it right. If you stay on board for all the films there's a lot of music that you have to write. Is it better that you stay on board or maybe to give another composer a chance so we have some new fresh ideas. I think new fresh ideas are always a good thing. I know I'm going to do the next one because I've already been asked but beyond that who knows and I actually work with a couple of young composers now in Los Angeles who are amazing, wonderful and you know I think the millennial generation, 20s and 30s people are just progressed so rapidly through their life and through their artistic skills that it's remarkable so I think I'm very open to let somebody else come and have a go at it but not on the next one I'm going to do the next one. What do you need to get inspired? What do you do when you have a rightist block? I get up and I walk out of the room and I go outside for a minute. There's an animal shelter down the block from my house so sometimes I'll go down and look at dogs and I come back and usually it goes away pretty quickly.