The showrunner relationship in television is what the director relationship in film, there's really no more important relationship. — Bear McCreary Copy Share Image
Sometimes the entire tone of an episode can be reshaped in directing or editing or acting. — Bear McCreary Copy Share Image
To me, the bar for television music is forever set by Shirley Walker's score for 'Batman: The Animated Series.' — Bear McCreary Copy Share Image
I don't view the web as any other secondary medium to television or film - I just think it's another avenue. — Bear McCreary Copy Share Image
Remember, a TV pilot is like an experiment. You try it out, and if it works, then they make it a series.… — Bear McCreary Copy Share Image
When you change showrunners, it's like getting divorced and getting remarried. — Bear McCreary Copy Share Image
With television you are producing hours and hours of music and for film it is a shorter experience for both the audience… — Bear McCreary Copy Share Image
I have been very fortunate in that I'm not doing all network shows or all cable shows, television has really become a… — Bear McCreary Copy Share Image
I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I… — Bear McCreary Copy Share Image
On a network show, you can get six days to score an episode. On 'Outlander,' because it's premium cable and because of… — Bear McCreary Copy Share Image
Typically, I think television music is meant to be consistent from episode to episode, to remind you what show you're watching. I… — Bear McCreary Copy Share Image
With television you are producing hours and hours of music and for film it is a shorter experience for both the audience… — Bear McCreary Copy Share Image
I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved… — Bear McCreary Copy Share
I grew up watching sci-fi and horror and dramas and playing video games. These are all things I enjoy doing. — Bear McCreary Copy Share
There was a time after doing 'Battlestar Galactica,' where I had my pick of projects that wanted taiko drums and ethnic vocals. You know,… — Bear McCreary Copy Share
The showrunner relationship in television is what the director relationship in film, there's really no more important relationship. — Bear McCreary Copy Share
I mean, I think everybody has fond memories of 'Masters of the Universe.' It was just one of the things in the '80s. But… — Bear McCreary Copy Share
When you hit a string or a piece of metal or anything that vibrates, you hear the fundamental pitch that the thing is vibrating… — Bear McCreary Copy Share
The great thing about scoring sci-fi shows is that you basically get to make up the rules, because you're creating a self-contained universe; when… — Bear McCreary Copy Share
It's hard to take a series of intervals that we all recognize, and arrange them in a way that is not so simplistic, to… — Bear McCreary Copy Share
I approach everything from the same perspective which is character and story, which then influence the musical style. — Bear McCreary Copy Share
On a network show, you can get six days to score an episode. On 'Outlander,' because it's premium cable and because of the way… — Bear McCreary Copy Share
I was thrilled to have had the opportunity to work Mark Hamill in creating the 'Child's Play Theme.' He dove into the experience head… — Bear McCreary Copy Share
At first glance, I was nervous that 'Marvel's Agents of S.H.I.E.L.D.' would be difficult to approach... It ties together a cinematic universe that spans… — Bear McCreary Copy Share
