When he has received approval on initial material from the filmmakers, Elfman begins to compose anywhere from 60 to 120 minutes of music cue-by-cue. He says two of the most important things to capture at this point are the tone of each scene and editorial rhythm. Next to thematic development, action set pieces tend to take Elfman the most time given the complexity of timing music to action. One element where Elfman's compositional process deviates from most film composers is that he will often compose three or more often radically different versions of a single cue to give the director more options for musicalizing a scene.