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

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!"

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.

I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.

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 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.

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