When my parents got divorced, I wanted to spend my time laying in the garage listening to the washer and dryer. Loud, immersive, changing. It was music to me.
'Hannibal' is not reality; the whole show is not reality. It's heightened reality: they want music the entire time.
With 'Hannibal,' I just really want people to feel something.
I always liked the stress, the real high-stakes, get-the-orders-out line-cook job, as well as the ordering of the produce and everything - it's really similar to making music for a show like 'Hannibal.' It's like cooking; it's just like owning a restaurant.
I've put a lot of records out and a lot of soundtracks, and 'Hannibal' is kind of a special one.
With 'Hannibal,' it's like reactive scoring so I don't get ahead. I don't read a script; I don't want to know what's going to happen until its happening in front of me and I'm able to have an instrument in my hands that I'm playing to make some kind of a map, some sort of tonal map, that I can then build on.
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
'Lost in Translation' was a year of my life, if not more, and then 'Marie Antoinette' was about three years of my life.
I think that this television medium, or whatever we call it now, is a really great frontier to turn people onto music - to new music or old music. It's a great platform where you've got people's ears, and you can throw something at them. I like to use it to the fullest that I can.
