How were you approached to take on your first DCTV series? Were there any apprehensions? I’ve worked with Greg Berlanti for 14 years, from his first show Everwood. In 2012, he handed me a script to Arrow and said, “This year, we are doing something a bit different.” I had no idea this would be the beginning of an onslaught of superhero shows in the DC Universe of iconic characters. My only apprehensions were to do the Green Arrow character justice, since the responsibility of musically representing such a decades-old character was a bit intimidating for a composer. How well versed were you in the Green Arrow lore when you signed up Arrow? Did your previous knowledge of the character change your approach to the project in way that was different from a show like The Mentalist? I was always a DC Comics appreciator. Aquaman was the first comic I bought as a child, and for some reason the DC characters always resonated with me the most. Whether it was Aquaman, Batman, Superman, The Flash or any number of others, I always gravitated toward DC. However, while I knew of the Green Arrow, I hadn’t followed him. Greg’s script was my introduction, and I was forever hooked. My approach was very different than approaching any other show. This was a character steeped in mythology and fan-base, not just a new character (like Patrick Jane of The Mentalist). But as a composer, my approach wasn’t different, in so much as I like to write something appropriate for any character and hopefully make it stick to the visual. The only difference in approach was that this had quite a bit of fan expectancy to it. Could you briefly walk me through the process of scoring an episode for any of the DCTV shows you work on? I generally get a week from receiving the final cut of an episode to its final mix (which is about 2 days before it airs on TV). My process on a first (pilot) episode is to go into a dark room, surround myself with images of the character, and attempt to capture that image musically. I write a suite of ideas, sounds, and themes and then hope it sticks to the image once the show is filmed. But on a weekly basis, I watch the episode and approach each scene dramatically with music that fits the scene. My goal is always to enhance the story-telling and support the action (whether emotional or brutal or cerebral) with the music, while trying to somehow stay in the background so that the audience only subliminally appreciates the music, and not bring music to the forefront. Otherwise, they are taken out of the story. 
The Flash has a very unique sound to it. What influenced the music behind some of Barry’s most emotional scenes? Barry Allen is a very different character from Oliver Queen. He is a scientist, a bit awkward, brilliant, and later superhuman. What I wanted to achieve musically was multiple layers. Whereas Oliver Queen is more dark, brooding and immediate, Barry is more complex. The layering and subtext in the music helps in his emotionality. I still use similar orchestration with these characters, whether it be simple piano or orchestra, but there are more layers to Barry. In my mind, as heroes, Arrow gets a more upfront sound with aggression and realism, while The Flash has a forward-momentum and almost fragile heroic sound. I come to this from the idea that Arrow always knows he will win, while The Flash is much more vulnerable when he is called to action. It’s extremely esoteric, because it’s just a bunch of music notes flying around, but this is always the approach. 
The Flash also pays homage to a number of DC Comics villains, some of which aren’t known to mainstream audiences. How do you go about composing a character theme for a reoccurring villain, like Wentworth Miller’s Captain Cold? Greg gave me excellent direction on Captain Cold. He said, “This is a great love affair. Cold and Flash will always be chasing each other.” For whatever reason this made me develop a long arch sort of theme for Cold. The harmonies are never resolved. The melody is always reaching and expanding. Never reaching full consummation. With each new villain that is introduced on The Flash or Arrow, I like to sit back and think about the mythology, research their importance, talk with the producers about their desires for the character, and then attempt to make an appropriate theme. Some can sustain a simple sound “theme,” while others (like Cold or Ra’s al Guhl or Vandal Savage) require a full-blown theme and sound world to do their evil business in. 
Legends of Tomorrow season one was unique in that we essentially saw a different time period with every episode. Did you ever have to adjust your approach or musical cues depending on what time period the heroes were in? I did this a few times in the season. The most apparent were Russia and the Wild West. But for the most part, I felt like music should be the glue to the show we were in. Yes, we were in 1975 or 2147 or the 50s, but we were still watching LEGENDS. I felt it important to only provide a flavor or the time but let the audience rely on costumes and sets for the actual time period. This is a band of “time pirates,” as I early on began referring to them, so we need to musically stay with the team. Has the cast and/or crew for any one of the DCTV shows you’ve worked on sat in on a scoring session? If so, what was the experience like? I’ve never had the cast at the scoring or even my studio. However, I have done the opposite: I’ve visited the sets and even gone to dinner with the cast to get to know them. It’s not helpful to the writing of the episodes, but it’s helpful to the collaborative nature of these shows. We are all building a huge universe together. Why not know your counterparts? This has even led to a possible collaboration with Stephen Amell on a side project. I would love for the cast to come to a scoring session someday, but with shooting 8 days a week, I have doubts that they can possibly ever bear the time. For anyone who’s looking at you as having their dream job, what advice would you give them? Never give up. I grew up in Paris, Texas without the Internet or any possible connection to Hollywood. And I made it. I’m doing exactly what I dreamed of! Nothing is impossible if you put your mind to it. 
What persuades you to keep scoring DC television shows? What are the unique benefits to working in TV? DC and Greg Berlanti have been incredibly loyal, incredibly supportive and wildly appreciative of my work. Why would I ever deny a chance to work on a new character or project with them? The benefits of working in TV, to me, are the ability to work again and again with these characters. If I begin an idea in Episode 1, I can continue and evolve it through to Episode 23 and beyond. It’s a never-ending sequel. With film, you get one, maybe two, chances to evolve your ideas. With TV, you get episodes and seasons upon seasons to continue your ideas. It moves way too quickly, and you have to be very prolific, but it’s very fulfilling to have the time with these storylines. One of my favorite musical cues/themes are your Nanda Parbat themes that pop up every now and then on Arrow. How did go about crafting a score that fits that very unique setting? Those were a lot of fun. I absolutely loved the arrival of Ra’s al Guhl. It sent me into an Eastern style of music harmonies and scales and instrumentation. This caused an evolution and exploration of sound that might capture the modern yet other-worldly feeling of Nanda Parbat, Nyssa, Ra’s and the ninjas. One of my favorite musicians in the world, Chris Bleth, brought me a wealth of treasures in duduks, dizis, neys, and other instruments, which we incorporated into the score. This was enhanced further by the haunting vocals of my friend, Sherri Chung, who was introduced during Oliver’s “death scene” with Ra’s in Ep 308 “The Climb.” It just grew from there with ethnic percussion, thick soundscapes and orchestration that hopefully made the audience feel like they were in another world far from Starling City. 
Have any actors commented on their individual themes? Yes. Stephen Amell was very vocal in his appreciation of what I do. And there was an amazing Tweet from Grant Gustin about my score to one of the episodes. Oh, and Jimmy Olsen (Mehcad Brooks) said some incredibly nice things about the Supergirl score. But my best “theme” moment was when my son was playing Lego Batman. He said “Dad, come up and see this.” I went to his room, and he had just opened a new level. He played and Lego Batman walked into a door and we saw Lego Green Arrow, and all of a sudden my Arrow theme started playing. That was a moment when I realized that what I was doing was creating a small iconic stamp on these characters. Some of the most iconic musical scores are from television. Do you have any peers whose music you enjoy immensely? It’s a really enjoyable thing to say that my peers and a few of my heroes are also my friends. We are appreciative of what each other are doing, but it’s nice when it remains non-competitive. Do I have favorites? Of course. Will I divulge? Absolutely not! 
How does it feel to be setting the tone for the DCTV television landscape? It feels amazing, but it feels incredibly heavy. I would never say that it’s a burden, because that is a negative term. But it feels like carrying a torch that will be handed off again in the future to another runner. For now, I need to carry the torch as high as it has ever been raised and hope it doesn’t get blown out by the wind. The success of these shows, the fanbase of these shows, and the expectancy of these shows is immense. Far bigger than myself. I must do all that I can to uphold the legacy, protect the mythology, and never denegrate the importance of this world that was created way before I was. I’m up for the challenge every day, but it never escapes me how important it can be. Is there any DC character you’d like to see appear on any of the DCTV shows? Aquaman. Please. First comic I bought. For whatever reason, a lifetime favorite. 
What’s the best story you have regarding anything DCTV-related in your years working with the respective shows? My favorite story goes back to the beginning. Greg Berlanti and I had long discussions about what he envisioned for the sound of ARROW. I went away for a few weeks and wrote and wrote and wrote ideas. I developed themes for the show and then brought him to my studio and nervously played the “Oliver Queen Suite.” After hearing it, he stood up and said “Great. Perfect. I love it.” And as he left my studio and the door was closing behind him, I heard him whistling the theme. I thought to myself, “Success.” | 