I built the first-draft score from Dan Jones and Stew Jackson’s music — the focal point both composers sent material to — proposing what plays where, offering options for each cue, and making the case for the choices I believed in as their creative collaborator. With a brutal schedule (the first seven-part series delivered in under three months) this pipeline kept the production moving; most of my suggestions carried through, though the final call on the scoring rested with the composers. I also handled the final mix edits once dub notes came in.