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It was important that my music for Doctor Who could look backwards and forwards. I was really given free rein creatively, but I wanted my music to carry the torch lit all those years ago
[by Delia Derbyshire and the
BBC Radiophonic Workshop] in terms of experimentation. To take it in the direction it’s gone in – particularly with regards to the music changing every week depending on the story – has been incredibly rewarding.
Ideas can come from anywhere. Speaking specifically about Series 12, for example, there’s a theme that’s based solely on a particular actor’s performance. Other themes come from a conversation, the story itself or the story’s location. In the ‘Demons of the Punjab’ episode in Series 11, which was about the partition of India, I knew that the music would have some Indian influences.
I’ve been influenced by so many people. My inspirations include Quincy Jones, John Adams, John Powell, Penderecki, Xenakis, Anna Meredith. Those
are just some names that spring to mind. I realised early on what kind of composer I wanted to be, and that’s one who really knows how to write for orchestra. I use my classical training alongside everything else, which for me includes pop, rock and jazz. To me it was important to be able to move around musically.
Playing wasn’t quite enough.
I had a curiosity and creative dissatisfaction. When I was practising, I’d ask ‘What if I change this note to this note? Where could I go with that?’ I was also very much into creative writing and English, and when I started watching more films, it was a natural marriage of two things I love: stories and music. I’m a composer, not a film and TV composer. Not because there’s anything wrong with that, but because I’m not restricted to being a media composer. It’s all music. I’d love to do a bit more concert music, which is just a di erent context and medium, in which you tell your own story.