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

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

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.

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

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.

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