For the sequel, he asked me to do a symphonic score. It was bigger than life – like an epic score. I ignored the comedy – the actors took care of that. I played to the chases and the danger. It's a serious score in the sense of an "epic" score, like "Raiders of the Lost Ark" or an Errol Flynn film. Also, you must realize that the symphony orchestra allows many more possibilities. Mozart didn't need a rhythm section to "drive". I was able to create a lot of energy without the use of drums and electric guitars and all that.