Yeah, yeah.

So, but, but even still, there were a lot of, you know, musical choices that, that, uh, we made, and John and I both had a chance to think about that.

You know, and, uh, as a composer, um, uh, I didn't find it daunting so much as exciting to, to...

You know, I, I'm sort of in the, in the business of inhabiting different, uh, stylistic zones d- according to what feels right, so it's, it's really nice actually to have a reason to write a piece that's actively thinking about Star Trek.

So, so in the piece that, that, uh, that John and I wrote about Gene Roddenberry's speech, the idea in the piece, uh, in, even in Gene's speech, is that Gene is signaling to the audience these different ideas he has about how the message of the show is inclusive.

It's about diversity and optimism.

And, and as that signal grows, uh, in the piece, in the music, I start to access some, some of the Star Trek themes and sounds, and it's fun to have, to be allowed to do that, right?

[laughs]

So just talk about this creative process and bringing this all to life and to the stage and, and obviously, uh, working with John.

Yeah.

The, the show is an ambitious thought, and I, I, I really enjoyed working with John on it.

You know, the thought of, what does this music have to say to us? What does Star Trek music mean? It traverses a lot of ground.

You have these scary, terrifying aliens, you know, who might destroy the planet, and then you have the music that's meant to represent the best parts of us.

So as John and I were working together on the show, you know, we're thinking, "What's, what are the very best nuggets that we can share with the audience, and how does that connect to today?" And I think what we've been able to do in this show is think about what it means to think about the ideas in Star Trek, uh, from a contemporary moment.

You know, what, how does it feel to, to think back on some of those optimistic, uh, inclusive ideals of the original show? And for, for me, working on it with John has been a joy.

Yeah.