So that can be incredibly frustrating at times, when you're playing against people's ingrained associations. We didn't really have that here. It was refreshing working with [Aster] in this regard, where even where there was something temped that wasn't what I had originally written for the film, I could replace it with things that accomplished similar goals yet in completely different ways, and he was right on board.
So how exactly does that process compare, workflow-wise, to working on your solo projects, or even with other musicians but on a purely musical project?
Stetson: Every relationship, every interaction is completely different. That's the long and the short of it, kind of. When I'm doing a score, generically speaking, I approach a score the same way conceptually as I approach doing arrangements with tracking horns for a songwriter on a particular song. So you talk to them. You see what's on their mind, if they have specific thoughts to what it needs. You listen to the song, you figure out what exactly you think that it needs, and then figure out what is the leanest, most direct approach to accomplishing that goal, giving the song what it needs, but not bloating it or having too much ego involved.