Attawalpa

That can only come from like a really strong sort of bond.

Or artistic bond, you know, you don't have to know the person for ages, but I think it's all about communicating.

You know, there's not much time for trial and error when you're doing that, because music's sort of the last sort of thing that you put on something before it goes out.

Music's expensive at that level.

You've got to get an orchestra in there, you've got to get, you know, in our case, we're doing a lot of stuff with this film that we're working on at the moment with bass clarinet, harps, you know, you've got to get it right when it's there and be very prepared.

Yeah, I mean, I'm really lucky that I have a collaboration with another guy.

Matt and I have been working together for seven years, and it's just us two in a room writing, and then we bring the musicians in.

When we start demoing something like drums, it feels super cold to have a fake drum kit pretending to be a drum kit, an electronic drum kit.

So you want to bring that in and get some air.

We always say we want air in this piece of music.

We want to hear what this sounds like with more air in it.

Because when you're working, they call it in the box when you're working off...

you know, a program like Logic or Pro Tools.

And yeah, then when you record the final thing, you're doing it with lots of different musicians.

And it's amazing to sit there and watch people, you know, like for an example of Too Much, the show that came out last year, we had an episode that Janixa Bravo directed, an incredible director.

And there was a temp score, which is what they put there as a placeholder before you do your own thing and mute the temp score.

And it was Mozart's Requiem in D minor.

No big deal.

That guy.

And I was like, are you keeping that in the show?