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.

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

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!"

While the accompanimental [sic] figures come from Prelude, the melody is wholly original to this theme. First stated on a lonely duduk, and then in octaves by the violins and violas, it is a melancholy and contemplative tune.

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.

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

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