[KMCG]

“He even tried a little bit of synth work on Terry Gilliam’s THE ZERO THEOREM, which I hadn’t heard from him before”

A lot of his early TV work in the 70s was catchy, light pop themes and small, but effective scoring.
He embraced the much more orchestral/symphonic stuff in the late 80s, around the time of CRY FREEDOM and HANDFUL OF DUST.