Before “Away,” you took a far more nightmarish space trip with “Nightflyers.” Could you talk about your eerie work for the show?
That was also a Mike Cahill project (he directed the pilot). We talked a lot about finding a sound that could express fear but also give a sense of movement, rotation and a feeling of distance. I met a guy in Michigan who builds these extraordinarily complex hurdy gurdys, and he built me one which ended up being very prominently featured in that show that was manipulated beyond recognition! But it has that haunting feeling of oscillation we were looking for. That score was really interesting for me. It has this sci-fi horror element of course but also this feeling of loss and tragedy. That’s something I learned from working with horror maestro Larry Fessenden on “Depraved”; horror as tragedy.
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