How did that experience affect the way you wrote the songs? many of them came before the scripts

that's true many of the songs came before the scripts only because the scripts were giving us such a hard time in the writer's room otherwise it would have been all happening together there would have been a lot more back and forth but the songs came pretty easy and the scripts gave us a hard time which just meant that songs were done first it's i don't think it's the way that any of us plan to work on it but the genius of roland jones and hannah moskovich is that they can take something that already exists like a book about vampires for for example, and then translated into something meaningful using new terms and new language.

And I feel like that's the same thing that happened in the writer's room with the songs.

I wrote a song based on the book or based on something that happened in seasons one and two or based on Ideas about vampirism that come from Anne Rice's universe of writing about vampires.

And then we found ways to work them into scenes when we were writing scenes.

Scenes were tailored to make sense.

I would say that season two was like a good preparation for this year because it's true that most of the time I do start my job after filming is done in post-production.

Do you already have like a quote unquote genre or a musical texture that you associate with Akasha?

And then so when you're kind of entering into a role such as Ron Weasley, with there being so many years of the books and the movies and also the show as well on Broadway or across the world, how do you kind of balance what has already been kind of established about him while also kind of making him your own character?

Yeah, I don't worry too much about the movies because I feel like people are just going to copy-paste a lot of that stuff and you just kind of take care of that.

That part just kind of takes care of itself.

I find there is one moment, one small line where I do kind of try to give people the full Rupert Grint experience.

But other than that, I just sort of trust the fact that I grew up with the books.

I started reading them when I was the same age the characters were, 10, 11 years old.

and then and grew up with that and so I I just I know the story really well uh and have for many years and it's meant so much to me for for many years and um Yeah, so I trust the fact that I like, since my childhood, I've known who these people are and how they connect with each other and how they relate to each other.

Okay.

This is Pastor Daniel Fredrick.

Pastor Daniel coming in with an encouraging word for Jody and all his listeners.

The story happened this week.

It was...

Tuesday morning and my little girl Evangeline and her brother Elliot were jumping on the couch.

Innocent childhood fun and as they bounced around and jumped off the couch.

my son accidentally twisted the wrist of my daughter Evangeline.

[laughs]

We need, we needed a song about Lestat becoming a vampire, and that ultimately becomes a song about Magnus, since Magnus is his maker.

And as I was reading the book, I just kept coming back to this idea that Magnus would watch him on stage night after night after night, and I was like, "Oh, Magnus is just his biggest fan, really.

That's, that's what's going on here." You know, he's, like, an obsessive fan of who Lestat is, what he looks like, uh, how he performs on stage.

And so then I thought, "Well, then why can't we just have it be, like, a, a sort of a love song, a, a, an obsessive love song?" We get it in the book from Lestat's point of view, and it's a very violent experience that he has with Magnus, a very sad, traumatic, violent experience that he has with Magnus.

But, um, surely from Magnus' point of view, it's not that way.

Like, what, what is the process like, especially on a season like this, where the music is so much a part of the story? Like, how does it work? Do you kind of, do you go off first and then come back? Do you look at scripts? Like, how does it go down?

down?This year I was in the writer's room for the entire time, so we were all working together in a, in a large house in Los Angeles, and that house was divided up into different writer's offices.