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

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 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.

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

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

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

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.