For drama scores, Seth prefers to use real instruments in small, intimate ensembles. When you can hear the hair of the bow, the wind in the tubes, or the hands on the knobs of the synths, that is when drama scores really come alive and tell the story of the human experience.

His style changes completely for every movie, from Post-rock Vivaldi, to Vietnamese woodwinds and Spanish guitar, to Icelandic style frozen soundscapes played by a Chinese string quartet, each of the thousands of decisions he makes while writing a drama score is based on the question “who is music for, and what are they feeling?”