"When we’re cutting a show like Castle, the editor is always putting in “temp” music, which is either..."

“When we’re cutting a show like Castle, the editor is always putting in “temp” music, which is either my old pieces or music from films. I have to wait until they finish editing to see what the episode looks like before I start scoring. The kiss, interestingly, was temped with the score I wrote for Montgomery’s death scene in the hangar. As opposed to having some sweet, romantic strings, it had fire. I saw that and sat back and found it interesting that they were taking this angle. It’s more about the energy and drive. That music for Montgomery getting shot was intended to be powerful and have a lot of emotion, but it wasn’t a positive thing. And it was interesting, because when I first saw them kissing to the music of Montgomery dying, I felt like Kate was almost hostile. When she showed up at the door she was like an animal that was about to attack him – in a negative way. It was weird, but it communicated enough to me that they wanted a sort of primal passion to it. Out of all the scores I’ve written for Castle, I’m very happy to say that it was one of the more effortless compositions I’ve ever had to work on. I sent it in and they loved it. It didn’t get a second draft or anything, which is wonderful for a scene like that.”

- An Interview with Robert Duncan (x) - via LocoMag - discussing “I Just Want You” (via stillcatchingup)