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

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.

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

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.

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.

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

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.