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

If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

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

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

I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.

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

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!"