Richard asked me for a score that would enable the audience to really feel they had traveled somewhere, so it had to have a strong foreign element. To that end I found myself playing some interesting instruments, and adapting conventional instruments in novel ways. I also had my percussionist Trevor Gilchrist assemble a variety of Balkan drums and batterie from the Bosnia/Croatia region, and these became the pulse and heart of the action cues. This was the first time I wrote a full orchestral score to one of Richard's films; the scale of the story and the sweep of the landscape needed a big emotional approach, and I loved the experience of writing for an emotional thriller.