Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.

There's an arrogance of assuming that we can interpret the past - that we've left the right footnotes, that we're doing the right reclamation projects, that we're not overcorrecting. Actually, we have no idea where we're going. It's this Tower of Babel type scenario.

That idea of being so sure of what has happened, and what will happen, is the most idiotic human thing that anyone can do.

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