Maybe ten years ago, I was an assistant to an older composer, Philip Glass, which itself was a great thing to do, and through him I met Benjamin Millepied, who at that time was a very young choreographer. And Benjamin needed someone to adapt this old piece of Philip’s for a new ballet that he was doing, and so I got sent to Benjamin to sort of work on this project, and you know I was a dutiful employee and just did my job. At a certain point Benjamin realized that I was also a composer and just politely asked, “Oh, what does your music sound like?” So I sent him a bunch. And he immediately was like, “We’ve got to do something together.” Like: “I’ve got this big new commission — I want you to do the music for it.”