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

Sometimes I find bringing in my old ideas is just detrimental.

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 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 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.

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.

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