“Scoring Water for the Root was really an exercise in minimalism. It's a very dialog-heavy film. In fact, most of the story is told through flashbacks and various conversations between the main characters. So it was a bit tricky finding a balance between creating mood and emphasizing tension while drawing just the right amount of attention to the music.”

“Every film I've scored has been different, but the process usually starts by thinking more about things like timbre and texture, rather than melody or harmony. The more musical aspects all come later, but the most important thing in the beginning is putting together a palette of sounds that makes sense for the film.”

“Modular synthesis definitely has an element of unpredictability, feels like these modules have a will of their own sometimes and I’m just along for the ride.”

“I was making a lot of ambient stuff,” says Talos, “Really experimental, sound-design-heavy music,” that wasn’t bound to the confines of a structured arrangement like your typical pop song. He could hear there was something unique about his craft; he just had to find a home for it.