Pilot films are a strange animal. They have to do a lot; a pilot has to play off all the characters, set the style of the production, define the situations, the nature of the confrontation. I think they almost have to do too much work. They have to have a plot, and they have to be entertaining as an entity into themselves. That's an awful lot to ask for a two-hour film. I don't know what the solution is, but I think pilots are very difficult things to write. You know it's much easier to write the third show, because now you're familiar with the characters. But just imagine trying to write the first one and do so much. It has to do much more than a movie, because it has to set up a situation, which by definition has to continue. There have to be sequels. I think I scored three shows, the pilot and two other episodes.

I've always used synthesizers. A lot of scores before Misfits had a lot of synthesizers added in, but only as an extra instrument. And outside of the experimental films I did very early on in my career, which were all electronic, Misfits was one of the first completely electronic scores I had done in years.