"I was only 18 months out of college when I got this gig…I grew up watching a lot of genre movies, so to suddenly find myself working on what I'd argue is one of the most important pieces of science fiction in the last few decades, it was a huge rush. The idea was to use the oldest instruments we could possibly use — a lot of voice and percussion, obviously, but also primitive woodwind instruments. We didn't want refined and polished; we wanted primal. Keep in mind that, when we started doing this ten years ago, the idea of scoring outer-space dogfights with something besides huge, heroic brass bands seemed incredibly daring. People thought we were nuts, and it became the defining sound of the series. And though some had said that we used primitive instruments as a way of hinting at the show's ending, I can personally assure you that none of us had the slightest idea where Battlestar would end up going. That surprised us as much as it did the audience."
"The taiko drums are really what makes this theme take off at the end, but I can't take credit for that; it really belongs to producer Michael Rymer. He was adamant about not using orchestration for the original miniseries, so he threw in some temp music just have sound against the images. One of the things he happened to put in there, however, was this Japanese drumming, and it was suddenly, 'Hey…this is good. This works!' When I ended up taking over the music near the beginning of Season One, we knew we wanted to incorporate them as much as possible. This was where I learned to layer things, from instrumentation to various character themes. It all starts here."