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.

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'm not a good enough musician to like completely master something in a couple of days and turn it around.

Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.

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

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!"

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.