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MP: It was a decision or a series of decisions that I made over the last few years as the music business has disintegrated before our eyes.

I sort of feel like the music business--recorded music, not live--has been sort of the canary in the coalmine for all media in the digital age.

I grew up primarily in the seventies, when you could have this romantic notion that you could have a career making records.

To me, it's as different as writing a play or writing a movie.

So for me, I saw that unless you wanted to tour there was really no middle class in record making anymore.

You were either fronted by a multinational corporation because you were a super commercial act or you were slugging away in your bedroom.

So for me, somebody who really likes to make new s**t and not necessarily just play a group of songs on a tour all the time I gravitated towards this, and I feel very blessed because I get to continue to create new recorded music and make a living off of it. MR: It seems like a natural evolution for people who got into music to write songs for themselves, then many score films and TV and move on to other creative musical formats. MP: There are other aspects that make it a very enjoyable thing for me.

I think if the business had remained what it was I would've probably wound up doing it anyway, but I sort of felt like it was expedited just by nature of what happened with the music business and the fact that they don't make an object anymore.

That's really what it comes down to: There's no longer any manufacturing.We used to take these wave forms that we've created and embed them in a piece of plastic, and then that piece of plastic got smaller and now we don't even embed them in anything, so now it's completely up for grabs. I talk to people who I view as very smart on every other level who say with conviction that they believe that music should be free.That's a depressing reality, and it sort of reminds you that the idea of music as an ojbect really only dates back to the nineteenth century with sheet music. It's because music is now viewed as data, and data's supposed to be free. But I feel very grateful because I get to do this and make a living at this, and it does also contain something that I miss making records; to me, making a record is a very solitary thing, and to me, scoring is very collaborative.I haven't felt that sort of collaborative spirit since I was in a band.MP: For me, the collaboration is sort of akin to working with a lyricist.There's no lyrics in the score, so you're basically working with the scenes as lyric and trying to find a way to emotionally support what's going on with that.