Craft Roundtables – A panel of TV composers broke down how they build unforgettable sonic identities—everything from early script-to-theme planning to scrambling for themes deep in post-production. Watch the full discussion featuring Breton Vivian, John Paesano, Jeff Russo, Amand
When the conversation turns to TV music, it’s rarely just about melodies. It’s about timing. trust. and the strange pressure of knowing your work has to feel right—even when the schedule doesn’t. At IndieWire’s 2026 Craft Roundtables. a panel of composers set out to explain exactly how that happens. moderated by features writer Jim Hemphill.
The panel brought together Breton Vivian (“The Madison”). John Paesano (“The Boroughs”). Jeff Russo (“Alien: Earth”). Amanda Jones (“Murderbot”). Kris Bowers & Michael Dean Parsons (“Spider-Noir”). and Mac Quayle (“Monster: The Ed Gein Story”). The group started by digging into the creative relationships between composers and showrunners—especially the recurring partnerships that shape how themes are born.
For Russo, the collaboration with Noah Hawley runs on a long runway. He said that because he’s been working with Hawley for almost 17 years. Hawley sends him scripts right at the very beginning. and Russo starts writing thematic material immediately. That process. he explained. included early planning for “Alien: Earth. ” before pausing to make “Fargo” Season 5 and then returning to the sci-fi adaptation.
Quayle’s workflow often flips to the opposite extreme: arriving late. working fast. and being asked to deliver themes under tight deadlines. He described how his collaborations with Ryan Murphy can come in deep in post-production. and how quickly everything can have to come together. “The circumstances really mirrored the first show that I did for [Murphy], which was ‘American Horror Story’ Season 4,” Quayle said. “I came on late in the process. they had tried some ideas that didn’t work out. and now they’re running out of time.”.
He recalled a specific moment when the pressure became personal and immediate: Quayle said he got a call. went into a meeting with Ryan. and was told. “I need a horror score. and we need themes. and we have almost no time.” He added that Murphy asked him to do what he’d done on “American Horror Story. ” because it was “the same thing.” Quayle said the request felt both “exciting and terrifying.”.
The panel’s back-and-forth underscored a hard truth composers live with: even when two projects share a creative team. the scoring path can look completely different. Some begin with scripts and theme sketches from day one; others arrive when edits are already moving and the clock is already running.
You can watch the complete panel in the video above. IndieWire’s TV Craft Roundtables is now streaming on @PBSSoCal and the PBS App as well as IndieWire.com and the outlet’s social channels.
IndieWire Craft Roundtables TV composers panel Jim Hemphill Breton Vivian The Madison John Paesano The Boroughs Jeff Russo Alien: Earth Amanda Jones Murderbot Kris Bowers Michael Dean Parsons Spider-Noir Mac Quayle Monster: The Ed Gein Story Ryan Murphy Noah Hawley Fargo Season 5 American Horror Story Season 4 PBS App
So basically TV composers are just… panicking with music until it works?
Wait is this about that show where the soundtrack sounds like it’s in your bones? Like “Alien: Earth” vibes? Because if Hawley sends scripts super early then yeah, it makes sense the theme would be better.
I don’t get why they’re calling it “sonic identities” like it’s branding. Isn’t it just background music? Also “Ed Gein Story”?? how did that even get approved, seems wrong.
Late in post-production and still have to deliver themes… that sounds like AI music jobs tbh. Like everyone’s cutting corners and hoping the audience won’t notice. And then they mention composing with Noah Hawley for 17 years like that guarantees quality? Guess my local TV station should do that too.