Gaylord Perry and Willie McCovey should know each other like a book. They've been ex-teammates for years now.

He slides into second with a stand up double.

You never ask why you've been fired because if you do, they're liable to tell you.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.

I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.

When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.

Also, differences of opinion can be creatively stimulating as well as frustrating.

With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.

And I definitely have an affinity with the piano.

And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.

And I think that I'd be a natural for scoring horror movies.

And when that's working, the sum can be greater than the parts.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

But things can happen in a band, or any type of collaboration, that would not otherwise happen.

For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.