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 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'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.

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.

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.

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