Bear McCreary Quotes
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The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.
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When you change showrunners, it's like getting divorced and getting remarried.
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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.
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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.
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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!"
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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.
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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.
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Sometimes I find bringing in my old ideas is just detrimental.
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If I were doing five cop shows, I'd probably start struggling to find an identity for each one and struggling to find inspirations.
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I'm not a good enough musician to like completely master something in a couple of days and turn it around.
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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.
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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.
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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.
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Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.