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.

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

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

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.

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

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