MRH: With Heroes now in its third season and the changes that have gone on with the characters, how do you adapt themes and keep the sounds fresh so that people can still identify closely with the characters?

LC: Well, a lot of times we just go back. We evolve the sounds and explore the themes, and then there will be scenes where we just have to go right back to the pilot sounds and just go pure Heroes. Sometimes there are even shots of Hiro or Claire and we have little sound things that we’ll put over their faces, and it really does seem to be affective.

[It’s also] because the directors and the writers are very involved that way too, and they refer back a lot. There’s a lot of mythology and rules that recur and are explained and are developed throughout all of the episodes… It’s good because it helps the heart and the sentimentality of the show.

It’s been difficult with the writers’ strike and the show changing and people getting fired, you know. We lost a lot of viewers, so it kind of feels good when we go back to the roots of the show; even though it’s only three years old, it’s very satisfying for fans when they [see and hear] those kind of things.

We love the music that we do. We get a lot of compliments on it, and it is pretty much different than anything I hear, and it’s a labour of love. We’re friends with Tim and Allan, and we’re fans of the show and just love doing it, so it’s exciting to get the score CD out there.