I have been very fortunate in that I'm not doing all network shows or all cable shows, television has really become a year-round process in the way that it's made.

I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved or unusual way.

I always like to think I build in historically accurate musical in-jokes that are so precise that like maybe there's 7 or 8 people in the world watching the show that will sit up and go, "Oh my God the music being played is the right kind of music!"

The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.

If I were doing five cop shows, I'd probably start struggling to find an identity for each one and struggling to find inspirations.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.

When you change showrunners, it's like getting divorced and getting remarried.