I collect many ethnic instruments, and as a guitarist, I'm usually able to play any sort of instrument - as long as it has strings. That's why I like to experiment with different sounds.
One of the most fun parts about my job is that when the music gets recorded live at the end of the project and real musicians play it, I still get goosebumps every single time.
Really, I get inspired by just switching projects and instrumentation and things like that - that creative part of just being different every time is really what inspires me.
In 'Westworld,' I really got to explore new areas, stylistically. We had the Indian world, we had Shogun world, so I got to play with new instrumentation - and also, a lot of new themes.
I've worked with Jonah Nolan on several projects. I really love collaborating with him.
I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.
What I love about 'Game of Thrones' is that the positioning of the music is so well done, because it's not overdone. When the music cuts in, it really has something to say.
Deep down, classical Romantic music is what I love: Brahms, Tchaikovsky, the Romantics.
I used to just scribble things on a piece of paper whenever an idea would - came to mind. Now with cell phones. It definitely has gotten a lot easier because I can just take it out and just - I'll just sing into my phone.
Many times, the way I write my themes or melodies is that I hear it, and then I sing into my phone or something, or I'll scribble down on a piece of paper.
I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.
The tonality of the flute almost has a mystic element to me.