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Speaker 1: And that's what you really missed with Jenna.

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Speaker 2: And Kevin an iHeartRadio podcast.

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Speaker 1: Welcome to you, and that's what you really miss podcast.

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Speaker 3: We have a very special guest today, Alex Pittsavas very

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Speaker 3: Are you so excited? Kevin?

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Speaker 2: Jenna Alex literally has shaped our world. No, truly, she

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Speaker 2: has shaped it as a music supervisor. Well she tells,

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Speaker 2: she breaks it down also like sort of the unknown

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Speaker 2: world of what music supervision is and how all of

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Speaker 2: us have been directly I impacted by it, our entire lives,

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Speaker 2: and yeah, it's specifically impacted by her.

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Speaker 3: And also like I will say, like I don't think

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Speaker 3: I unbeknownst to me, like a lot of the way

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Speaker 3: that I consume music is through film and TV mm

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Speaker 3: hm and not you know, turning yeah, of course turning

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Speaker 3: on the radio or not even in these days. But

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Speaker 3: like the way I used to be influenced by music

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Speaker 3: was what I was watching and what I was seeing.

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Speaker 3: And so this is so she really did shape the

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Speaker 3: way that we or had her hand in shaping the

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Speaker 3: way that a lot of us were consuming new artists,

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Speaker 3: new music.

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Speaker 2: And even like how you said, you know, there's other

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Speaker 2: ways to listen, like the radio. I it's so good

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Speaker 2: at her job that she so many times has influenced

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Speaker 2: what's played on the radio. Yeah, it's getting played on

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Speaker 2: the radio because she has such a gift at matching

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Speaker 2: up song with story. Yes, and then therefore we're all

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Speaker 2: obsessed with it because we're no longer just hearing a

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Speaker 2: song out of context. We're hearing a song in context

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Speaker 2: and related to an emotional story moment, and whether it's

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Speaker 2: in like gossip Girl or Bridgerton or Riverdale or OC

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Speaker 2: or the Twilight films or Scandal or the Hunger Game soundtracks.

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Speaker 2: Like she has done it all, literally everything. Wow, I

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Speaker 2: just anyway, I enjoyed it. We can't tally really enjoyed

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Speaker 2: this conversation.

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Speaker 1: So yeah, I know it's really great.

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Speaker 2: Strap in get ready to hear just a wonderful breadth

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Speaker 2: of knowledge and a career from Alexford's office.

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Speaker 4: Hi, Hello are you? I'm good? How are you good?

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Speaker 2: We are? We feel very lucky that you agreed to

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Speaker 2: talk to us.

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Speaker 5: Come on, no, no, no, no no, because you know,

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Speaker 5: I feel like we talk to people who are in

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Speaker 5: our position a lot, right.

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Speaker 1: We don't get your perspective.

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Speaker 2: You're the taste maker, really like you are the.

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Speaker 6: Well, that's very flattering. Thank you, thank you, thank you.

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Speaker 6: So are you guys here in LA?

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Speaker 2: Yeah, I'm in New York.

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Speaker 4: You're in New York.

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Speaker 2: Yes, New York as amazing two and a half months ago.

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Speaker 4: Oh gosh, you just moved.

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Speaker 2: Yeah, but I've been in LA for I was in

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Speaker 2: LA for twenty three years.

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Speaker 4: So no, I'm not in from Chicago. There's also a

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Speaker 4: little bit of snow.

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Speaker 6: No, but I've been here for thirty five years. Wow,

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Speaker 6: I'm an Angelina at this point.

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Speaker 2: Yeah, I think.

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Speaker 1: So.

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Speaker 2: How did you end up in LA?

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Speaker 6: I came out to be in the mailroom at a

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Speaker 6: talent agency right for college.

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Speaker 1: Wow.

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Speaker 2: How long were you in that position?

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Speaker 4: Six months?

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Speaker 6: I didn't really know how to drive very well, and

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Speaker 6: but I had I had done some booking in Champagne, Illinois,

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Speaker 6: where I attended college, and I uh sort of contracted

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Speaker 6: a lot of acts from Triad, Mark Giger and Frank

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Speaker 6: Riley in particular, and was lucky enough to be able

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Speaker 6: to come out to LA and work work in the

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Speaker 6: mail room. Soon after, I worked at BMI Broadcasting, Inc.

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Speaker 4: And then.

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Speaker 6: I was the second assistant to the vice president, and

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Speaker 6: then a good fortune of working in the film and

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Speaker 6: TV department.

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Speaker 1: Wow.

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Speaker 2: So in college, what did you go to college for

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Speaker 2: political science?

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Speaker 3: What did you think you were going to do when

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Speaker 3: you went into the mailroom agency.

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Speaker 4: I thought, I mean, I understood what a big opportunity

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Speaker 4: it was.

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Speaker 6: I was this is the Midwest in the eighties, and

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Speaker 6: to me, the music business was really the live music business.

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Speaker 6: That was what I understood, and I loved this organization,

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Speaker 6: and I loved the opportunity to get to work in

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Speaker 6: the in the big industry.

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Speaker 4: So I didn't really know what I was going to do.

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Speaker 6: Because I didn't have a lot of knowledge yet about

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Speaker 6: how things act, how things worked on a big scale.

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Speaker 2: So you go to college for polysei and then you're

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Speaker 2: just a big you love music. Yeah, music there, and

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Speaker 2: you're like, you know what, this degree's here, fine, whatever.

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Speaker 2: I got to get to LA.

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Speaker 6: My dad taught political science, my mother was a high

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Speaker 6: school librarian. I'm an only child, so I think I

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Speaker 6: was hoping to check some family boxes.

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Speaker 4: And also, but I really was a music kid. I

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Speaker 4: loved it. I loved to me it was more than

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Speaker 4: a hobby.

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Speaker 6: It was sort of in those days, especially, it was

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Speaker 6: how we self sorted the kids that went for you know,

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Speaker 6: went sort of vinyl Vinyl deep diving, and my social

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Speaker 6: life was very very much revolved around live shows.

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Speaker 2: Do you remember like what got you into music, Like

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Speaker 2: was there an act or anything in particular?

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Speaker 6: I think I was an MTV kid and so it

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Speaker 6: had it debuted or like, I don't remember when it debuted,

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Speaker 6: but I remembered being pretty fascinated by it.

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Speaker 4: Soon after. So I love the arrhythmics, I love.

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Speaker 6: The Police and all the yummy eighties.

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Speaker 2: Yeah, I just because in your position you've been like

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Speaker 2: music creative production, like you have to have I imagine

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Speaker 2: you would know better than me some sort of crazy

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Speaker 2: good taste too, work your way up and be so

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Speaker 2: successful in your career and so like for me finding

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Speaker 2: out how you know, how you got your taste and

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Speaker 2: so then you get to be am I and you

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Speaker 2: have all this wealth of music knowledge as you're a

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Speaker 2: music nerd. Like what happens then, like.

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Speaker 4: How did I I think?

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Speaker 6: I think my taste was developed very much by my

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Speaker 6: friends and sort of what my friends were listening to

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Speaker 6: in high school. What we discovered together was very inspired

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Speaker 6: by the John Hughes movies that were all shot in

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Speaker 6: the suburbs of Chicago, and how masterfully John Hughes introduced

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Speaker 6: what we now think about is alternative music, which of

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Speaker 6: course became very mainstream music to fans all over the world.

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Speaker 6: And then also in college, my friend we were just

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Speaker 6: introducing each other to music and I loved and I

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Speaker 6: think when people asked me later in my career, like

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Speaker 6: what does it take to be a music supervisor, I think,

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Speaker 6: more than anything, you really have to love music. It's

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Speaker 6: a crazy job to have if you don't, and love

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Speaker 6: discovery and sort of understand there's discovery and music from

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Speaker 6: all eras and maybe we'll talk about it a little later.

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Speaker 6: I was able to do some period shows and really

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Speaker 6: do some deep dives, and that's as satisfying as new music.

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Speaker 6: I think for my time at BMI, where I worked

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Speaker 6: in the film and TV department, really at BMI, which

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Speaker 6: is you know, Broadcast Music, Inc. Was the first time

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Speaker 6: I really understood that the music and film, the TV

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Speaker 6: and film music part of the industry was very organized.

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Speaker 6: It wasn't something that had occurred to me before that.

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Speaker 6: And to understand that music super like music supervision, was

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Speaker 6: a gig. Of course, you know instinctively that there are composers.

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Speaker 6: I wasn't yet following composers, really following bands before my

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Speaker 6: time at BMI, and I was there probably as a

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Speaker 6: twenty two or twenty three year old, and it was

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Speaker 6: just really seductive to understand that there was a way to,

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Speaker 6: you know, perhaps do what John Hughes did.

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Speaker 3: And yeah, yeah, I think that's way so interesting because

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Speaker 3: for a lot of people like you, you didn't.

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Speaker 1: Know that that was a job.

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Speaker 3: So for for our listeners, can you just like kind

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Speaker 3: of high level explain what a music supervisor's job actually

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Speaker 3: is because it's so fascinating and it's special, but I.

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Speaker 1: Don't think a lot of people know.

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Speaker 4: I think you're probably right well.

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Speaker 6: At its core, music supervision is a team sport, and

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Speaker 6: I think that is the headline. So a music supervisor

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Speaker 6: is one of is one of a group of key creatives.

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Speaker 6: On the film side, you are really looking to carry

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Speaker 6: out the director's vision. On a series side, you're really

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Speaker 6: doing the same thing for the showrunner. And I think

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Speaker 6: those terms have become more and more commonplace and sort

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Speaker 6: of folks understand what a showrunner does and what a

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Speaker 6: director does. We sit alongside editorial, the costumer, the production designer,

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Speaker 6: and I think we all work together to make sure

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Speaker 6: that I'll just use showrunner as an example, that the

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Speaker 6: showrunner's vision for their project is carried out.

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Speaker 4: So when you when the.

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Speaker 6: Viewer here's the dialogue, they see the production design. So

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Speaker 6: everything is seamless and is telling the story as it

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Speaker 6: is intended.

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Speaker 4: To be told.

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Speaker 6: So a music supervisor, as you know, oftentimes I got

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Speaker 6: involved very early, and for example, Josh Schwartz and I

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Speaker 6: would talk about outlines for the OC, like very early

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Speaker 6: in the process. He uh scripted and you know, sort

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Speaker 6: of built conceived of the Bait Shop, which was the

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Speaker 6: which was the live music venue for the OC. So

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Speaker 6: I had a lot of conversations with Josh, and my

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Speaker 6: job was to not only make sure we brought live

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Speaker 6: bands to perform on the OC, but also to to

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Speaker 6: really keep music coming and so I would send new music.

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Speaker 6: And I think it's really about identifying the sound and

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Speaker 6: so having conversations with the showrunner and director to what

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Speaker 6: is the sound, what what does what does that creative

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Speaker 6: want the music to sound like in the show, And

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Speaker 6: then of course how.

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Speaker 4: Do we get it into the show on budget? All

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Speaker 4: you know, and here's the here's the on sexy side,

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Speaker 4: on budget.

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Speaker 6: And fully cleared. And of course there's a complicated clearance

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Speaker 6: process where the artists and writers we ask permission in

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Speaker 6: a in a sort of uncomplicated but complicated legal way

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Speaker 6: to make sure that the rights holders are giving a

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Speaker 6: granting permission and that permission is given in very specific

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Speaker 6: ways and so the scene is detailed, that timing is detailed.

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Speaker 6: None of it is like haphazard or vague. And so

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Speaker 6: a music supervisor has to have creative chops and and

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Speaker 6: a real connection with the with the create the key

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Speaker 6: creative the showrunner or director, but also be organized enough

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Speaker 6: to make sure that the right song is mixed in,

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Speaker 6: that the rights are cleared, that it's on budget. So

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Speaker 6: it's a it's a left brain right brain thing.

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Speaker 2: Yeah. Organize seems to be the keyword there.

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Speaker 4: Organized, organized good And.

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Speaker 2: I feel like a lot in this business you have

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Speaker 2: people who are super creative, but they don't have any

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Speaker 2: of the organizational capacity right or they just do the

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Speaker 2: organizational stuff and don't really do creative your music. Sure

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Speaker 2: provision is one of those spots that really straddles both

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Speaker 2: sides and has to be able to seamlessly execute that

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Speaker 2: because music is the underpinning of everything we consume, Like

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Speaker 2: all media, it evokes all these feelings, and it's like,

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Speaker 2: if that is not right and locked in and not

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Speaker 2: being cleared, then what do we have Because the music

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Speaker 2: often is informing are the audience's emotional response to whatever

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Speaker 2: we're consuming.

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Speaker 4: I think that's right.

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Speaker 6: I think I would add though that that sort of

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Speaker 6: the production design in the same way.

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Speaker 7: Oh yes, an editorial also have to be both incredibly

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Speaker 7: creative and also like the organization and the detail work

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Speaker 7: in those.

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Speaker 4: And those capacities are important too. But right, it's like

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Speaker 4: it's a it's a special it's a special skill.

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Speaker 2: So often in your work you're talking about budget and

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Speaker 2: you're talking about what is the sound for something you

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Speaker 2: may be working on. You've worked on a lot of

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Speaker 2: projects where I feel like you've almost broken a lot

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Speaker 2: of new artists, and I wonder if that does that

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Speaker 2: come from a taste thing you find this music, you're like, oh,

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Speaker 2: I think this is exactly what this either showrunner or

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Speaker 2: director may be looking for and also their news, so

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Speaker 2: maybe it's cheaper, like or is it.

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Speaker 1: Okay? Fair enough?

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Speaker 3: That was kind of along the lines with the same question.

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Speaker 3: Kevin it's more specifically like Gray's Anatomy, for example, right

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Speaker 3: like the Flea, the Fray and Snow Patrol, which shaped

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Speaker 3: a lot of our the way we listened to music,

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Speaker 3: what we were listening to. You changed the artists lives,

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Speaker 3: You changed the consumers' lives. The show was so clear

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Speaker 3: because of that music also in addition to you know,

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Speaker 3: the writing and the performances. But yeah, what is that?

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Speaker 3: What was that process specifically? Like realizing that these artists

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Speaker 3: were then you know, you changed their lives in a

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Speaker 3: lot of ways, and it was like such a big

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Speaker 3: cultural shift as well.

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Speaker 6: I mean, I really I really care about new artists

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Speaker 6: and new music, and it was incredibly satisfying to see,

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Speaker 6: really satisfying to see careers launched. To your point earlier,

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Speaker 6: it wasn't a budget. It wasn't a budget decision. I

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Speaker 6: worked on the pilot for Gray's Anatomy and of course

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Speaker 6: through through many subsequent seasons, and I remember sitting with

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Speaker 6: Shonda Rhymes and Betsy Bears and you know, during the pilot,

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Speaker 6: and really back to that conversation that I said that

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Speaker 6: that like you really have to.

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Speaker 4: Have, which is.

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Speaker 6: Shanda wanted the music to reflect and she talks about

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Speaker 6: it a lot like the youth and the like the

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Speaker 6: beginnings of the Interns journeys and the residents journeys, and

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Speaker 6: so the music had a hand knit quality that had

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Speaker 6: a very youthful quality. Especially in the early seasons, we

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Speaker 6: leaned into female vocals, We leaned into both like you know,

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Speaker 6: up and coming American artists and European artists. And that

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Speaker 6: time was was a big shift in how a music

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Speaker 6: supervisor could do their job. So when I started, I

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Speaker 6: did my first project in nineteen ninety five or six,

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Speaker 6: So that was my first, my first movie, which I did.

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Speaker 4: For Roger Corman.

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Speaker 6: And you should look if you don't know, if you're

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Speaker 6: not a Roger Corman fan, you should, the listeners should

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Speaker 6: spend some time a legendary movie producer.

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Speaker 4: An amazing way to learn this craft.

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Speaker 6: And when I started, everything was through the fact X

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Speaker 6: machine clearances took forever I was male, sometimes like male,

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Speaker 6: you know, the actual male. I I would male a

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Speaker 6: request to somebody and hope to get it back. By

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Speaker 6: the time Grey's Anatomy was on the air, we were

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Speaker 6: now you know, we were faxing, you know, International music

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Speaker 6: was becoming more accessible, less like, less steps yes, So

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Speaker 6: all of a sudden, every band was a local band,

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Speaker 6: and I really embraced that.

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Speaker 4: I had an amazing staff.

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Speaker 6: And in those days, it wasn't we weren't really getting

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Speaker 6: music digitally yet. So mounds of CDs would show up.

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Speaker 6: We would you know, in the mail, and I had

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Speaker 6: a tiny office and the walls were stacked with submissions,

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Speaker 6: domestic and international, and we would listen through those submissions

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Speaker 6: and create, you know, quite painstakingly compilations that took forever

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Speaker 6: to make, forever to copy, and those would go you know,

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Speaker 6: to Shonda to Betsy to editorial and so slowly, Uh,

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Speaker 6: you know, I was able to understand what was working

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Speaker 6: for Shonda, what was like, what songs were sticking, what weren't,

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Speaker 6: and like, you know, the beginning of any first season

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Speaker 6: of any show, and certainly any movie is a long

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Speaker 6: conversation what works and why.

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Speaker 2: Yeah, it feels like you're putting the pieces of a

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Speaker 2: puzzle together and just trying to like throwing it out

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Speaker 2: the wall and seeing what, let's say, Shonda in this

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Speaker 2: case responds to what she sees for the characters and

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Speaker 2: the story. It also felt like for Gray's Natomy specifically,

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Speaker 2: and I'm wondering if this changes project to project about

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Speaker 2: like what about the music? May you think, Oh, because

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Speaker 2: I feel like in Grays in that first season, there's

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Speaker 2: a lot of like vocal similarity quality whether female or

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Speaker 2: male singers, but there's like a sort of like vulnerability

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Speaker 2: and softness and like maybe really honesty and a vocal

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Speaker 2: that is happening in that season. Is that something when

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Speaker 2: you hear that, you're like, Oh, maybe this is the

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Speaker 2: emotion Shonda needs in this or what she's looking for.

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Speaker 4: Yeah, I think I think that.

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Speaker 6: I think you really that's really accurate, you know, sort

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Speaker 6: of sense of it. And there was a lot of vulnerability.

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Speaker 6: There's you didn't hear a lot of vibrato in the vocals.

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Speaker 6: It wasn't right, it wasn't very polished. Yeah, And I

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Speaker 6: think that those sounds very specifically reflected.

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Speaker 4: How Shonda was telling the story.

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Speaker 6: And I think I think that's if there's anything to

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Speaker 6: say about supervision is like we're in support of the script,

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Speaker 6: like the music muse supervision, although like I really obviously

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Speaker 6: thought about soundtracks and playlists as well, and a great

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Speaker 6: soundtrack is a companion piece.

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Speaker 4: To the project that really.

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Speaker 6: Sums up, summarizes however you want to say it the

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Speaker 6: best of whatever is in a season or a show.

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Speaker 6: Is it a key moment, is it a really special song?

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Speaker 6: Might be an on camera, it might be a special artist.

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Speaker 6: But I think you're right. I think there's a certain

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Speaker 6: I think I keep on saying hand knit, and that's

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Speaker 6: what comes to mind for me. There there's something about

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Speaker 6: the music, and of course Seanda's characters evolved, the story evolves.

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Speaker 4: And so does the music.

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Speaker 6: The music has to you know, has to live and

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Speaker 6: breathe with the story. You know, there's moments, you know.

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Speaker 6: I think another thing that that Shanda did quite particularly

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Speaker 6: was really think about using songs as score.

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Speaker 4: And to play songs for five minutes, for six minutes.

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Speaker 6: I mean I think that, you know, obviously the snow

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Speaker 6: patrol chasing car scene.

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Speaker 4: Gets referenced quite a bit. It's really scores.

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Speaker 6: Yeah, multiple scenes coming together in a very huge moment.

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Speaker 6: And this was before splits were so easily if that

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Speaker 6: makes sense to you to your audience, when you could

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Speaker 6: strip out a vocal and just hear the instrumental.

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Speaker 4: I mean, we really had to work.

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Speaker 6: With the music in a way that has become easier

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Speaker 6: over the last decades.

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Speaker 2: Well, because I imagine that on a technical level, to

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Speaker 2: get permission to do that, is that a whole separate ask,

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Speaker 2: as opposed to we want to use your song for

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Speaker 2: thirty seconds in the scenes, like, oh no, we also

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Speaker 2: want to maybe just use an capella for a bit,

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Speaker 2: or just an instrumental for a little bit, and stretch

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Speaker 2: out this three and a half minute song to maybe

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Speaker 2: five minutes, Like is that a whole you have to

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Speaker 2: paint that picture for the artists.

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Speaker 6: That's clearly that's an excellent question, and it's exactly right.

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Speaker 4: It's really about.

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Speaker 6: Might not be like second by second, yeah, but it's

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Speaker 6: you know, it is definitely letting the artists know how

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Speaker 6: the song might be changed and why, and it's you know,

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Speaker 6: I think.

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Speaker 4: It's used for good.

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Speaker 6: It's really about it's really about the most impactful use

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Speaker 6: of that piece of music. I don't Obviously, another key

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Speaker 6: component in the music team is the music editor, whose

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Speaker 6: job it is to do all those things, to support

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Speaker 6: both the composer and the editorial team and the music

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Speaker 6: supervisor and really making sure that these songs are expertly,

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Speaker 6: exquisitely perfectly placed against picture.

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Speaker 1: Yeah.

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Speaker 3: So when you when say a showrunner a creator Shonda says, Okay,

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Speaker 3: we're going to use this song in this scene. How

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Speaker 3: involved are you or are you able to see that

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Speaker 3: in the process of putting that those pieces together and

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Speaker 3: seeing if it works or not, versus like you know,

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Speaker 3: in the editing room versus just seeing the final cut later.

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Speaker 4: For sure, a really good question.

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Speaker 6: I often got asked, like how does how does the

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Speaker 6: music actually get in there? And and it really happens

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Speaker 6: all sorts of ways, honestly, So something that I always

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Speaker 6: did was do these compilations as I see, you know,

390
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Speaker 6: in the old days took a long time.

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Speaker 4: In the modern era, you know.

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Speaker 6: Picking the music is just as is intentional and and

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Speaker 6: time consuming, but the you know, the physical process of

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Speaker 6: getting it to a it needs to go is now

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00:25:01,200 --> 00:25:08,520
Speaker 6: a snap. But you know, picture editors are often so musical,

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Speaker 6: like editing is a very rhythmic, you know, musical process.

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Speaker 6: So these compilations would sit an editorial. Sometimes the picture

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Speaker 6: editor would would end up picking the song from these compilations.

399
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Speaker 6: Sometimes the showrunner would script songs at the very beginning,

400
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Speaker 6: so like.

401
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Speaker 4: The very for the first draft of the.

402
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Speaker 6: First outline, we might include a song that inspired the

403
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Speaker 6: creator and then there were many times that the mute

404
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Speaker 6: that I or any music supervisor pitches music for specific scenes,

405
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Speaker 6: and that scene might come over dry without any music.

406
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Speaker 6: It might come over, uh to to my office with

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Speaker 6: like this is almost right but not exactly right, or

408
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Speaker 6: and so then you know, I might have gotten the

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Speaker 6: song right on the first try, and I might have

410
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Speaker 6: gotten it right on the three thousandth try right, And

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Speaker 6: sometimes silence wins, and sometimes the best storyteller.

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Speaker 3: Of all, Yeah, what's the most exciting to you? If

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Speaker 3: it comes dry? It comes with a suggested song? Like

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00:26:24,680 --> 00:26:26,360
Speaker 3: is there one that you prefer?

415
00:26:27,480 --> 00:26:29,159
Speaker 4: When the right song makes it in?

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00:26:31,440 --> 00:26:32,040
Speaker 1: Good answer?

417
00:26:32,400 --> 00:26:35,359
Speaker 3: No matter however you get to wear, it comes best answer.

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00:26:35,560 --> 00:26:39,040
Speaker 6: Yeah, Yeah, really like that is that is like, especially

419
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Speaker 6: when you're thinking about multiple songs over multiple seasons.

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Speaker 4: Yeah, back to Team Sport.

421
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Speaker 2: Like Team Sport, I feel like you have been a

422
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Speaker 2: part of like the OC sort of changed. I feel

423
00:27:01,560 --> 00:27:07,480
Speaker 2: like how we as an audience interact with music and

424
00:27:07,520 --> 00:27:10,800
Speaker 2: a TV show or movie, and I feel like we

425
00:27:10,880 --> 00:27:14,800
Speaker 2: see that in most of your career, where you are

426
00:27:14,840 --> 00:27:19,520
Speaker 2: so good at tapping into what is culturally relevant regardless

427
00:27:19,520 --> 00:27:22,840
Speaker 2: of what we're watching, Like there's always a way and

428
00:27:22,920 --> 00:27:25,640
Speaker 2: it fits, you know, not like trying to shoehorn in

429
00:27:25,680 --> 00:27:28,280
Speaker 2: some song. You know it always is the right song.

430
00:27:29,080 --> 00:27:33,080
Speaker 2: And is there a point when when you started doing

431
00:27:33,160 --> 00:27:35,320
Speaker 2: this and you start using these songs and making these

432
00:27:35,400 --> 00:27:38,440
Speaker 2: artists big or seeing you know, how well it's being

433
00:27:38,480 --> 00:27:41,920
Speaker 2: received as from the viewers, that then you're now being

434
00:27:41,960 --> 00:27:46,479
Speaker 2: pitched from labels and songwriters as opposed to you know,

435
00:27:46,640 --> 00:27:48,439
Speaker 2: I guess my question is how much of it is

436
00:27:48,520 --> 00:27:53,000
Speaker 2: you hearing music already and knowing, oh, I think this

437
00:27:53,080 --> 00:27:56,320
Speaker 2: might be good, and how much of it is we

438
00:27:56,400 --> 00:28:00,520
Speaker 2: got back then, you know, sent a stack of from

439
00:28:00,600 --> 00:28:03,280
Speaker 2: labels trying to push Yeah, I mean because I've been

440
00:28:03,320 --> 00:28:06,119
Speaker 2: into record labels, you know when they have their store

441
00:28:06,200 --> 00:28:09,760
Speaker 2: rooms of all you know, the promotional CDs or whatever

442
00:28:09,800 --> 00:28:12,199
Speaker 2: they're sending out to people for things like this. So like,

443
00:28:12,320 --> 00:28:14,600
Speaker 2: what is or is it both? Is all of that

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00:28:14,640 --> 00:28:15,679
Speaker 2: happening at the same time?

445
00:28:17,080 --> 00:28:21,200
Speaker 4: Big question, A lot of a lot of way back machine.

446
00:28:22,640 --> 00:28:27,359
Speaker 4: But let's see, I want to answer this thoughtfully.

447
00:28:28,680 --> 00:28:32,000
Speaker 6: I knew when I when I was lucky enough to

448
00:28:32,160 --> 00:28:35,920
Speaker 6: be on the OC like and to talk to Josh

449
00:28:35,920 --> 00:28:39,360
Speaker 6: Schwartz and Stephanie Savage that and that.

450
00:28:39,280 --> 00:28:41,239
Speaker 4: There was a it was.

451
00:28:41,680 --> 00:28:48,720
Speaker 6: There was a real opportunity, especially because of Seth Cohen

452
00:28:49,520 --> 00:28:53,160
Speaker 6: and like the characters, Seth Cohen was such a music fan.

453
00:28:53,560 --> 00:28:55,080
Speaker 4: It wasn't going to make it.

454
00:28:55,080 --> 00:28:59,520
Speaker 6: It wasn't going to be difficult to tap into Josh's

455
00:28:59,560 --> 00:29:04,000
Speaker 6: love of me music, Stephanie's love of music, and Seth

456
00:29:04,080 --> 00:29:07,400
Speaker 6: Cohen's love of anima of you want to see shows.

457
00:29:07,400 --> 00:29:12,360
Speaker 6: So you know, we saw posters on the wall and

458
00:29:14,400 --> 00:29:18,800
Speaker 6: it was such a fun, intoxicating ride. And I sort

459
00:29:18,800 --> 00:29:21,640
Speaker 6: of can't overstate that, like how how fun it was

460
00:29:21,920 --> 00:29:29,320
Speaker 6: to really dig into music that I loved. But also

461
00:29:29,400 --> 00:29:32,680
Speaker 6: to your point, like when when was when was I

462
00:29:32,800 --> 00:29:35,640
Speaker 6: stopping to pick up the phone and ask? And when

463
00:29:35,760 --> 00:29:38,560
Speaker 6: was the phone ringing? And it was It was a

464
00:29:38,640 --> 00:29:42,840
Speaker 6: real It was a strange moment, honestly for me because

465
00:29:42,840 --> 00:29:46,320
Speaker 6: I had started in the in the music business as

466
00:29:46,360 --> 00:29:51,920
Speaker 6: like a college kid booking. I moved over into b

467
00:29:52,120 --> 00:29:54,440
Speaker 6: M I and then I worked for Roger Corman and

468
00:29:54,520 --> 00:29:57,200
Speaker 6: did many many movies on a shoe string, which really

469
00:29:57,240 --> 00:30:01,040
Speaker 6: taught me and I had the experience to like sort

470
00:30:01,080 --> 00:30:05,720
Speaker 6: of be ready for this opportunity, but I also understood

471
00:30:05,880 --> 00:30:12,880
Speaker 6: like how special it was and music music marketing, like

472
00:30:12,960 --> 00:30:17,240
Speaker 6: marketing departments that labels and publishers were really starting two

473
00:30:19,000 --> 00:30:23,120
Speaker 6: to realize that sync was a thing. And synchronization is,

474
00:30:24,040 --> 00:30:26,640
Speaker 6: you know, the sink. I don't know how much how

475
00:30:26,680 --> 00:30:28,960
Speaker 6: much detail you want me to get into what sinc is, but.

476
00:30:29,080 --> 00:30:33,680
Speaker 2: No, if you could do a little at the people,

477
00:30:34,920 --> 00:30:35,640
Speaker 2: awesome people.

478
00:30:36,480 --> 00:30:42,880
Speaker 6: So sink is derives from synchronization, which is the which

479
00:30:42,920 --> 00:30:47,640
Speaker 6: is the act of pairing music to picture. And there's

480
00:30:47,800 --> 00:30:54,360
Speaker 6: always been really powerful, organized, amazing SINC Teams for labels

481
00:30:54,400 --> 00:30:59,320
Speaker 6: and publishers whose whose job is to make sure that

482
00:30:59,600 --> 00:31:05,880
Speaker 6: music supervisors and for ads for film, for TV, for

483
00:31:06,080 --> 00:31:10,840
Speaker 6: games like really have the latest music that their companies

484
00:31:10,920 --> 00:31:12,040
Speaker 6: might be putting forth.

485
00:31:12,600 --> 00:31:13,640
Speaker 4: There's also.

486
00:31:15,080 --> 00:31:20,160
Speaker 6: Sink agents, and sink agents have companies that represent that

487
00:31:20,160 --> 00:31:24,480
Speaker 6: that's really their main focus is maybe representing indie artists

488
00:31:24,600 --> 00:31:32,520
Speaker 6: or many artists to music supervisors. They are often really talented,

489
00:31:32,640 --> 00:31:36,440
Speaker 6: have great ears, and if a music music supervisor sends

490
00:31:36,440 --> 00:31:39,560
Speaker 6: out a brief like I need a song about dying.

491
00:31:39,960 --> 00:31:42,440
Speaker 6: It needs to have this lyric, it has to feel

492
00:31:42,480 --> 00:31:44,760
Speaker 6: like this, It needs a female vocal, I only want

493
00:31:44,760 --> 00:31:49,640
Speaker 6: one obo and you know, sort of these incredibly specific briefs,

494
00:31:50,040 --> 00:31:52,800
Speaker 6: those talented people on the other end are the ones

495
00:31:52,880 --> 00:31:57,400
Speaker 6: listening through their catalogs and hopefully sending the two that

496
00:31:57,480 --> 00:32:01,560
Speaker 6: fit rather than the fifty that don't. But but those

497
00:32:01,600 --> 00:32:04,520
Speaker 6: become really trusted partners to music supervisors.

498
00:32:06,320 --> 00:32:07,800
Speaker 4: Around the time of the OC.

499
00:32:09,160 --> 00:32:13,280
Speaker 6: I remember when the first soundtracks came out and we

500
00:32:13,280 --> 00:32:19,000
Speaker 6: were in partnership with Warner Brothers Records, very specifically a

501
00:32:19,120 --> 00:32:23,560
Speaker 6: very talented woman named Laurie Feldman who was sort of

502
00:32:23,800 --> 00:32:26,280
Speaker 6: running the efforts from the Warner Brothers record side.

503
00:32:26,280 --> 00:32:27,320
Speaker 4: We would put.

504
00:32:27,240 --> 00:32:32,640
Speaker 6: Up the list of songs for when the episodes aired,

505
00:32:33,080 --> 00:32:38,719
Speaker 6: and imagine that that's a concept instead of what happens,

506
00:32:39,320 --> 00:32:42,760
Speaker 6: because it is, you know, twenty years ago, and so

507
00:32:43,360 --> 00:32:45,400
Speaker 6: we're trying to figure out how to how to get

508
00:32:45,480 --> 00:32:48,560
Speaker 6: the songs up, to get links to the songs, or

509
00:32:48,600 --> 00:32:51,120
Speaker 6: at least a place for.

510
00:32:51,200 --> 00:32:56,800
Speaker 4: Fans to understand what they just heard. Because Shazam is right,

511
00:32:56,880 --> 00:32:58,959
Speaker 4: none of this is the same. How are we finding

512
00:32:59,080 --> 00:32:59,920
Speaker 4: how we find out?

513
00:33:01,360 --> 00:33:06,560
Speaker 6: So sync agencies are becoming more and more important part

514
00:33:06,560 --> 00:33:10,800
Speaker 6: of the business, and labels are certainly understanding the power

515
00:33:11,040 --> 00:33:15,840
Speaker 6: of SINK as far as reaching an audience. In addition

516
00:33:15,880 --> 00:33:20,560
Speaker 6: to radio and MTV and record sales and touring, here's

517
00:33:20,560 --> 00:33:23,480
Speaker 6: a new way. Yeah, and so my phone really started

518
00:33:23,480 --> 00:33:29,240
Speaker 6: to ring. Always my first the most important thing to

519
00:33:29,320 --> 00:33:33,560
Speaker 6: me is that we are putting the right music into

520
00:33:33,600 --> 00:33:37,440
Speaker 6: the show. But there were plenty of times that we

521
00:33:37,520 --> 00:33:40,720
Speaker 6: got to debut new music, and I was so grateful

522
00:33:40,920 --> 00:33:45,680
Speaker 6: for my label partners, my publishing partners, to be able

523
00:33:45,720 --> 00:33:52,560
Speaker 6: to debut a Beastie Boys song which came through you know, management,

524
00:33:52,720 --> 00:33:57,040
Speaker 6: to be able to debut be able to do a beckisode,

525
00:33:57,720 --> 00:34:02,400
Speaker 6: to be able to debut Coldplay mm hm.

526
00:34:01,600 --> 00:34:04,880
Speaker 4: You know, Stevie Wonder.

527
00:34:06,040 --> 00:34:10,920
Speaker 6: Wrote an original song for the last episode of Scandal Crazy.

528
00:34:11,440 --> 00:34:13,080
Speaker 6: All of those opportunities are.

529
00:34:14,800 --> 00:34:16,640
Speaker 2: Well because also, like you're putting this out there and

530
00:34:16,680 --> 00:34:20,440
Speaker 2: people are hearing the different genres or style of music

531
00:34:20,440 --> 00:34:22,600
Speaker 2: that is going with each thing, and so at some

532
00:34:22,640 --> 00:34:25,359
Speaker 2: point it's sort of like a homing beacon of like, oh,

533
00:34:25,440 --> 00:34:28,880
Speaker 2: here's another place for us, or you know, or this

534
00:34:29,000 --> 00:34:32,800
Speaker 2: artist didn't know how to get discovered, and the labels

535
00:34:32,840 --> 00:34:34,279
Speaker 2: like we don't know how to break them, and all

536
00:34:34,280 --> 00:34:37,879
Speaker 2: of a sudden like oh this whoever's running the music

537
00:34:37,920 --> 00:34:41,000
Speaker 2: on the show, gets the style of music we can

538
00:34:41,040 --> 00:34:43,440
Speaker 2: get to them to do that. So it did become

539
00:34:44,160 --> 00:34:46,480
Speaker 2: another place too for sure.

540
00:34:46,440 --> 00:34:49,240
Speaker 4: My phone went, you know, ring a ding ding, for sure.

541
00:34:50,239 --> 00:34:51,359
Speaker 1: Yeah.

542
00:34:51,400 --> 00:34:52,400
Speaker 4: But I think.

543
00:34:53,840 --> 00:34:56,480
Speaker 6: The other thing, the other thing that is different about

544
00:34:56,560 --> 00:35:02,440
Speaker 6: SYNC is that the music supervisor is does not need

545
00:35:02,840 --> 00:35:07,360
Speaker 6: a whole album or or an amazing tour. What you

546
00:35:07,560 --> 00:35:13,600
Speaker 6: really really need is the one perfect song for a scene,

547
00:35:13,640 --> 00:35:18,960
Speaker 6: which is a very different set of parameters or you know,

548
00:35:19,320 --> 00:35:23,160
Speaker 6: then why you might why an album does well or

549
00:35:23,200 --> 00:35:28,279
Speaker 6: why it's you know, it's definitely a moment, making sure

550
00:35:28,320 --> 00:35:30,760
Speaker 6: that moment is right right.

551
00:35:31,800 --> 00:35:36,200
Speaker 1: And then there was Twilightlight What.

552
00:35:37,560 --> 00:35:40,879
Speaker 3: And again, like Kevin said, all of these moments that

553
00:35:41,040 --> 00:35:44,919
Speaker 3: you were a part of, from Grace to the OC

554
00:35:45,320 --> 00:35:47,520
Speaker 3: which came, you know, around the same time, and then

555
00:35:47,880 --> 00:35:52,440
Speaker 3: Twilight and shaping the way that people were consuming and

556
00:35:52,560 --> 00:35:55,439
Speaker 3: the way that films were consuming music and putting out

557
00:35:55,440 --> 00:35:59,400
Speaker 3: these albums. What was the conversation like, they're using this

558
00:36:00,000 --> 00:36:03,880
Speaker 3: insane body of music from new artists to artists that

559
00:36:03,920 --> 00:36:11,160
Speaker 3: are you know, we're already established. I'm curious about that process.

560
00:36:12,000 --> 00:36:18,560
Speaker 4: What a ride like? What a what a amazing movies?

561
00:36:18,960 --> 00:36:23,400
Speaker 6: Set of movies right to be a part of. I

562
00:36:23,480 --> 00:36:31,400
Speaker 6: sat with Summit executives Eric and Jillian, who introduced me

563
00:36:31,440 --> 00:36:36,759
Speaker 6: to Katherine Hardwick back to the first movie. Catherine had

564
00:36:37,040 --> 00:36:44,440
Speaker 6: very very specific, like sort of wonderful ideas about what

565
00:36:44,480 --> 00:36:48,560
Speaker 6: the music should be. Super talented editor back to that,

566
00:36:48,680 --> 00:36:53,080
Speaker 6: like the director editor, and.

567
00:36:54,400 --> 00:36:58,560
Speaker 4: You know, it was really special to be able to

568
00:36:58,640 --> 00:36:59,880
Speaker 4: work on I was.

569
00:37:00,320 --> 00:37:05,080
Speaker 6: I was older than than the typical Twilight band, but

570
00:37:05,160 --> 00:37:08,880
Speaker 6: I remember gobbling up all the books, reading the script

571
00:37:08,880 --> 00:37:11,120
Speaker 6: first and then reading all the books that were available.

572
00:37:12,000 --> 00:37:17,600
Speaker 6: And of course Stephanie herself dedicated Twilight to Muse, so

573
00:37:17,680 --> 00:37:21,840
Speaker 6: we had we had a music property already and that

574
00:37:21,960 --> 00:37:25,600
Speaker 6: was really very specific, right, very specifical, And of course

575
00:37:26,520 --> 00:37:29,680
Speaker 6: Muse became a you know, the Muse scene in the

576
00:37:29,680 --> 00:37:37,360
Speaker 6: baseball scene certainly became uh a, uh a very talked

577
00:37:37,400 --> 00:37:40,360
Speaker 6: about moment. And I was we were so pleased to

578
00:37:40,440 --> 00:37:45,080
Speaker 6: be able to have music agree yeah, to be in

579
00:37:45,160 --> 00:37:47,160
Speaker 6: the scene. The other thing I want to say about

580
00:37:47,280 --> 00:37:53,120
Speaker 6: Twilight is that because there were such crazy fandom, and

581
00:37:53,200 --> 00:37:55,799
Speaker 6: I think I realized it when I didn't go to

582
00:37:55,840 --> 00:37:58,520
Speaker 6: the Comic Con event, But there was a big comic

583
00:37:58,520 --> 00:38:04,120
Speaker 6: Con event, and there was a palpable and enthusiasm by

584
00:38:04,160 --> 00:38:07,800
Speaker 6: the fans for this, for this book, for the film,

585
00:38:08,280 --> 00:38:11,040
Speaker 6: like real fandom, and I think we use the word

586
00:38:11,120 --> 00:38:15,960
Speaker 6: fandom a lot in twenty twenty five, and maybe it

587
00:38:16,040 --> 00:38:18,319
Speaker 6: was used when Twilight came out, but it didn't hit

588
00:38:18,400 --> 00:38:21,120
Speaker 6: me in the same way, and it was like it

589
00:38:21,160 --> 00:38:25,319
Speaker 6: was just palpable, And I remember hearing about that. I

590
00:38:25,360 --> 00:38:28,280
Speaker 6: remember going to subsequent like there was we did concerts,

591
00:38:28,280 --> 00:38:33,160
Speaker 6: we did all sorts of stuff. Incredibly talenting, talented marketing

592
00:38:33,280 --> 00:38:37,480
Speaker 6: exec at Summit, Nancy Kirkpatrick really leaned into the music,

593
00:38:38,640 --> 00:38:44,480
Speaker 6: and our partners at Atlantic Records did too, really understood it.

594
00:38:44,640 --> 00:38:48,920
Speaker 6: And so the other interesting thing about working on a

595
00:38:49,360 --> 00:38:55,759
Speaker 6: movie that has sequels is that I approached it in

596
00:38:55,760 --> 00:38:58,560
Speaker 6: this you know, obviously I had a series of different

597
00:38:58,800 --> 00:39:03,680
Speaker 6: really talented directors who had different sensibilities and we were

598
00:39:03,719 --> 00:39:04,960
Speaker 6: telling different stories.

599
00:39:06,320 --> 00:39:09,680
Speaker 4: But I understood after the first.

600
00:39:09,440 --> 00:39:11,960
Speaker 6: Movie, which I was just looking at some notes earlier,

601
00:39:12,040 --> 00:39:16,880
Speaker 6: which like debuted at number one the soundtrack on the

602
00:39:16,880 --> 00:39:22,000
Speaker 6: Billboard chart, which was like so exciting. So the first

603
00:39:22,200 --> 00:39:28,360
Speaker 6: soundtrack had a combination of already released music like of

604
00:39:28,400 --> 00:39:33,520
Speaker 6: course muse, brand new songs. We had some beautiful tracks

605
00:39:33,560 --> 00:39:38,680
Speaker 6: by our star Rob Pattinson, and there was a combination

606
00:39:38,800 --> 00:39:39,719
Speaker 6: of paramore.

607
00:39:39,840 --> 00:39:41,040
Speaker 4: There was new things that.

608
00:39:40,960 --> 00:39:43,360
Speaker 6: We could introduce the audience to there were some things

609
00:39:43,480 --> 00:39:47,000
Speaker 6: I think that we all understood after Movie one, that

610
00:39:47,040 --> 00:39:51,400
Speaker 6: we could debut every single song and that we could

611
00:39:51,440 --> 00:39:56,080
Speaker 6: make sure that the fan when they experienced moving forward

612
00:39:56,320 --> 00:39:57,920
Speaker 6: was going to be the first time they heard the

613
00:39:57,960 --> 00:40:00,960
Speaker 6: song was going to be something connected to Twilight. And

614
00:40:01,040 --> 00:40:06,799
Speaker 6: so obviously there was like a very wistful, dark, bloody like.

615
00:40:06,840 --> 00:40:09,440
Speaker 4: You know, all the all the fun, all the fun stuff.

616
00:40:09,480 --> 00:40:11,359
Speaker 4: But when I was looking for music.

617
00:40:12,960 --> 00:40:16,680
Speaker 6: For the next five summers, essentially because that's when that's

618
00:40:16,719 --> 00:40:20,520
Speaker 6: when we posted, the movies were posting in time to

619
00:40:20,680 --> 00:40:25,120
Speaker 6: come out around Thanksgiving, and so the meat of the

620
00:40:25,280 --> 00:40:29,000
Speaker 6: editorial work was sort of that time of year for me.

621
00:40:30,600 --> 00:40:36,680
Speaker 6: And some songs were versions, some songs were you know,

622
00:40:37,440 --> 00:40:44,000
Speaker 6: we had some unbelievable like duets that came together, and

623
00:40:44,040 --> 00:40:47,360
Speaker 6: that was such a like a special thing to be

624
00:40:47,400 --> 00:40:49,359
Speaker 6: able to debut all that music.

625
00:40:50,880 --> 00:40:52,280
Speaker 4: For all for all the movies.

626
00:41:01,000 --> 00:41:04,799
Speaker 2: You talked about building soundtracks, you know, or building an

627
00:41:04,800 --> 00:41:07,319
Speaker 2: album is so different from choosing a specific song an

628
00:41:07,320 --> 00:41:10,799
Speaker 2: episode of television or even in a movie. The way

629
00:41:10,840 --> 00:41:12,719
Speaker 2: you are such a fan of music and grew up

630
00:41:12,719 --> 00:41:14,799
Speaker 2: being such a fan of music, and then you're now

631
00:41:14,840 --> 00:41:22,560
Speaker 2: being able to help facilitate some amazing collaborations in soundtrack

632
00:41:22,600 --> 00:41:25,719
Speaker 2: form and make an own companion piece to a movie

633
00:41:25,760 --> 00:41:28,040
Speaker 2: that's successful in its own right, and then an album

634
00:41:28,080 --> 00:41:30,759
Speaker 2: that's successful in its own right, and you did it

635
00:41:30,800 --> 00:41:34,719
Speaker 2: for a Hunger Game series, and you like it felt

636
00:41:34,760 --> 00:41:40,160
Speaker 2: like like I was even more excited for some of

637
00:41:40,200 --> 00:41:43,040
Speaker 2: those albums than I would get for the movies because

638
00:41:44,320 --> 00:41:48,160
Speaker 2: the depth in some of those songs, the artists that

639
00:41:48,520 --> 00:41:51,880
Speaker 2: I would necessarily see on a soundtrack for a movie

640
00:41:51,880 --> 00:41:56,680
Speaker 2: that was so like a blockbuster that was so commercially successful, right,

641
00:41:56,719 --> 00:42:00,680
Speaker 2: and you had some great indie bands on those soundtracks

642
00:42:01,080 --> 00:42:05,200
Speaker 2: with huge stars, and sometimes they would collaborate. Like what

643
00:42:05,320 --> 00:42:11,239
Speaker 2: was the satisfaction of sort of getting to introduce and

644
00:42:11,280 --> 00:42:14,920
Speaker 2: continually do it from that series to the next series

645
00:42:14,960 --> 00:42:20,360
Speaker 2: you were doing, and really make an album, you know,

646
00:42:20,360 --> 00:42:22,520
Speaker 2: because normally you were doing you m'd be doing one

647
00:42:22,560 --> 00:42:24,960
Speaker 2: song at a time, but this was a full companion

648
00:42:25,440 --> 00:42:27,080
Speaker 2: piece that like, when I listened to this album, I

649
00:42:27,160 --> 00:42:29,400
Speaker 2: know exactly what's happening in the movie, yet I can

650
00:42:29,440 --> 00:42:31,360
Speaker 2: also just enjoy this album separately.

651
00:42:33,280 --> 00:42:33,680
Speaker 4: Thank you.

652
00:42:34,840 --> 00:42:37,520
Speaker 2: I mean seriously, though, Like I grew up in the

653
00:42:37,600 --> 00:42:41,319
Speaker 2: music business, and I, you know, as a teen who

654
00:42:41,320 --> 00:42:44,719
Speaker 2: thought I knew everything and was you know, it could

655
00:42:44,719 --> 00:42:47,920
Speaker 2: be snobby about music. I just remember as soon as

656
00:42:47,960 --> 00:42:52,040
Speaker 2: that first Twilight soundtrack came out, I was like, what

657
00:42:53,320 --> 00:42:57,960
Speaker 2: this is different, Like this feels very different. I had

658
00:42:58,000 --> 00:42:59,440
Speaker 2: never experienced anything like that.

659
00:43:00,080 --> 00:43:05,640
Speaker 6: Back to team Sport Sport, so I think, thank you again,

660
00:43:05,760 --> 00:43:13,880
Speaker 6: thank you. I can't be understated, like how heady it

661
00:43:14,080 --> 00:43:17,040
Speaker 6: was and and how like when do you have an

662
00:43:17,080 --> 00:43:24,080
Speaker 6: opportunity to work on on a series of blockbusters that right, that.

663
00:43:26,360 --> 00:43:29,799
Speaker 4: There's such focus on the music, and the directors were

664
00:43:29,840 --> 00:43:33,960
Speaker 4: so excited to debut and introduce.

665
00:43:35,200 --> 00:43:40,120
Speaker 6: Bell Brigade or Saint Vincent and Bonnie Vere who needed

666
00:43:40,120 --> 00:43:44,160
Speaker 6: no introduction, but that they did something together. We're standing

667
00:43:44,239 --> 00:43:47,239
Speaker 6: like in an airport and hearing that radio head, I

668
00:43:47,280 --> 00:43:49,319
Speaker 6: mean the Tom York was going to say yes and

669
00:43:49,400 --> 00:43:53,800
Speaker 6: like being quite loud and you know at the Southwest terminal.

670
00:43:56,160 --> 00:43:58,840
Speaker 2: That's the thing though, like, at what point do you

671
00:43:58,880 --> 00:44:02,200
Speaker 2: think you can ever get Tom York to agree to

672
00:44:02,320 --> 00:44:04,480
Speaker 2: do a movie soundtrack.

673
00:44:05,360 --> 00:44:07,880
Speaker 6: I'm gonna I'm going to tell you my story that

674
00:44:07,920 --> 00:44:13,200
Speaker 6: I've told before but really was key to my approach

675
00:44:13,280 --> 00:44:17,600
Speaker 6: to music supervision. Before I did the OC and Grays,

676
00:44:17,680 --> 00:44:21,759
Speaker 6: I worked on a show called Roswell with.

677
00:44:21,800 --> 00:44:24,600
Speaker 4: The great Jason Cams and Ron Moore.

678
00:44:25,800 --> 00:44:28,640
Speaker 2: And nothing but Hits, Nothing but Hits.

679
00:44:29,719 --> 00:44:34,600
Speaker 6: And I and I am co supervised with a with

680
00:44:34,719 --> 00:44:38,799
Speaker 6: a really talented, generous fellow named Kevin Edelman who had

681
00:44:38,840 --> 00:44:41,120
Speaker 6: done a lot of television and I had come from

682
00:44:41,120 --> 00:44:46,640
Speaker 6: the indie world, and he really helped me understand the

683
00:44:46,680 --> 00:44:50,040
Speaker 6: cadence and the click of a series versus an indie movie,

684
00:44:50,200 --> 00:44:55,520
Speaker 6: and I have so much gratitude to him. Roswell we

685
00:44:55,600 --> 00:44:59,040
Speaker 6: also like lean into into some into some alternative in

686
00:44:59,120 --> 00:45:05,400
Speaker 6: indie music. And an editor had temped in how to

687
00:45:05,440 --> 00:45:09,080
Speaker 6: disappear completely because I would not have been brave enough

688
00:45:09,080 --> 00:45:11,719
Speaker 6: to send down how to I would not have been

689
00:45:11,760 --> 00:45:15,279
Speaker 6: brave enough to send to the editor editing Bays or

690
00:45:15,320 --> 00:45:18,839
Speaker 6: to the showrunners Radiohead. At that point it seemed impossible.

691
00:45:21,120 --> 00:45:25,800
Speaker 6: And with a lot of effort and a great deal

692
00:45:25,840 --> 00:45:30,680
Speaker 6: of help back to sync teams, a lovely gal named

693
00:45:30,719 --> 00:45:38,640
Speaker 6: Alexandra robertson uh WE Radiohead said yes, like, ah, all

694
00:45:38,680 --> 00:45:42,719
Speaker 6: the all the you know, the firecrackers go the you know,

695
00:45:42,960 --> 00:45:46,719
Speaker 6: there's a party in my tiny office. Yeah, but it

696
00:45:46,840 --> 00:45:51,040
Speaker 6: changed how I felt about asking and I was no

697
00:45:51,120 --> 00:45:55,520
Speaker 6: longer after that moment, Like, you know, I felt like, well,

698
00:45:56,360 --> 00:46:00,120
Speaker 6: no matter what, if it's if it works and the

699
00:46:00,160 --> 00:46:02,920
Speaker 6: showrunners love it and it's the best thing for the scene,

700
00:46:03,800 --> 00:46:04,600
Speaker 6: I am going.

701
00:46:04,520 --> 00:46:07,840
Speaker 2: To ask because you conquered the mountain at that point.

702
00:46:07,920 --> 00:46:11,359
Speaker 6: Yeah, it's brilliant. And that was like years before at

703
00:46:11,360 --> 00:46:15,080
Speaker 6: this point, right early two thousands, Yeah, maybe two thousand

704
00:46:15,080 --> 00:46:15,959
Speaker 6: and one or two.

705
00:46:16,480 --> 00:46:19,640
Speaker 3: What a great lesson to have though, in that risk

706
00:46:19,760 --> 00:46:22,759
Speaker 3: taking of you know, so early in the career that

707
00:46:22,840 --> 00:46:25,719
Speaker 3: you've had to be able to do that. It's probably

708
00:46:25,800 --> 00:46:30,200
Speaker 3: why you've conquered so much and accomplished so much is

709
00:46:30,239 --> 00:46:33,600
Speaker 3: because you are willing to push the envelope and ask

710
00:46:33,719 --> 00:46:36,120
Speaker 3: and do the things that seem impossible.

711
00:46:37,360 --> 00:46:39,919
Speaker 4: Impossible is fun, don't always work.

712
00:46:41,160 --> 00:46:44,680
Speaker 1: I gotta try, but what it does, you gotta try.

713
00:46:44,520 --> 00:46:50,439
Speaker 6: So But no, I think the Twilight experience was was incredible.

714
00:46:51,400 --> 00:46:53,040
Speaker 1: Was that your favorite one to work on?

715
00:46:53,960 --> 00:46:55,839
Speaker 4: I mean, how do you pick a favorite one out

716
00:46:55,840 --> 00:46:56,000
Speaker 4: of it?

717
00:46:57,000 --> 00:47:01,439
Speaker 1: I know, it's really incredible, incredible.

718
00:47:02,520 --> 00:47:06,319
Speaker 2: It's it is really amazing. And I also think you know,

719
00:47:06,560 --> 00:47:09,000
Speaker 2: when an artist or label hears that you're a part

720
00:47:09,040 --> 00:47:13,200
Speaker 2: of a project, there has to be this association with

721
00:47:13,680 --> 00:47:17,040
Speaker 2: you know what you're talking about you. There's a body

722
00:47:17,040 --> 00:47:17,399
Speaker 2: of work.

723
00:47:17,680 --> 00:47:20,879
Speaker 6: I think they know that I care exactly, and I

724
00:47:20,960 --> 00:47:22,439
Speaker 6: think what else can I say?

725
00:47:22,480 --> 00:47:23,080
Speaker 4: I think.

726
00:47:25,440 --> 00:47:30,120
Speaker 6: It's really about more than anything, you know, it's how does.

727
00:47:29,960 --> 00:47:31,600
Speaker 4: A director see the music?

728
00:47:31,719 --> 00:47:34,600
Speaker 6: How like it's it's like, it's really important to understand

729
00:47:34,600 --> 00:47:38,560
Speaker 6: that about music supervision. How does a showrunner is it

730
00:47:38,600 --> 00:47:43,440
Speaker 6: if it's Shonda Rhimes, like, if she's her incredibly huge

731
00:47:43,520 --> 00:47:47,080
Speaker 6: body of work, how are we telling the story in

732
00:47:47,120 --> 00:47:49,600
Speaker 6: Grey's Anatomy or Scandal or Bridgerton.

733
00:47:52,080 --> 00:47:54,360
Speaker 4: It's really about what makes sense?

734
00:47:55,960 --> 00:47:59,480
Speaker 6: And for I worked on the first season of Bridgerton,

735
00:48:01,120 --> 00:48:05,239
Speaker 6: and vocals did not make sense to Shonda right, It

736
00:48:05,360 --> 00:48:08,800
Speaker 6: was like, how how is Bridgerton's brilliant.

737
00:48:08,560 --> 00:48:18,120
Speaker 8: Beautiful, brilliant strings right, beautiful story told in only the

738
00:48:18,160 --> 00:48:20,560
Speaker 8: way that Shondaland can tell a story.

739
00:48:21,880 --> 00:48:28,799
Speaker 6: Engaging dialogue, but like the costumes, the production design, when

740
00:48:28,840 --> 00:48:32,000
Speaker 6: we thought about how music was going to how songs

741
00:48:32,000 --> 00:48:36,400
Speaker 6: were going to work, Obviously, the unbelievably talented Chris Bauers

742
00:48:36,400 --> 00:48:39,919
Speaker 6: does the score listeners. If you don't know who Chris

743
00:48:39,920 --> 00:48:44,759
Speaker 6: Bauers is, uh, definitely introduced to it.

744
00:48:46,160 --> 00:48:50,320
Speaker 4: You unbelievable composing talent.

745
00:48:51,080 --> 00:48:54,319
Speaker 6: Uh, how is the score and the song is going

746
00:48:54,400 --> 00:48:58,600
Speaker 6: to fit seamlessly with those beautiful costumes. The dialogue, and

747
00:48:58,640 --> 00:49:03,160
Speaker 6: it was really about a modern quartet, you know, modern

748
00:49:03,200 --> 00:49:07,520
Speaker 6: quartet cover of a of a song that the audience

749
00:49:07,640 --> 00:49:12,239
Speaker 6: was familiar with. Come closer, Yes, like come closer, not

750
00:49:12,280 --> 00:49:16,319
Speaker 6: through lyrics, not through voices that that we already know,

751
00:49:16,719 --> 00:49:23,320
Speaker 6: but that that slow recognition, Oh my god, wildly effect,

752
00:49:23,400 --> 00:49:23,839
Speaker 6: like I know.

753
00:49:23,880 --> 00:49:27,240
Speaker 2: This come closer exactly right, And it also really sets

754
00:49:27,239 --> 00:49:30,080
Speaker 2: the tone not only emotionally right of getting us into

755
00:49:30,080 --> 00:49:33,359
Speaker 2: the scene, but also continuously was telling us what type

756
00:49:33,360 --> 00:49:38,759
Speaker 2: of show, what Shonda and co. Were doing with that show,

757
00:49:39,360 --> 00:49:42,719
Speaker 2: and it's it's amazing how just the first time you

758
00:49:42,800 --> 00:49:46,920
Speaker 2: realize what's going on musically, like, ah, that's what we're

759
00:49:46,960 --> 00:49:47,399
Speaker 2: doing here.

760
00:49:48,360 --> 00:49:53,000
Speaker 6: I also remember after the OC, Josh and Stephanie's very

761
00:49:53,040 --> 00:50:00,839
Speaker 6: next project was Gossip Girl, also incredibly music. Oh yeah,

762
00:50:00,920 --> 00:50:05,479
Speaker 6: but like I remember sitting with with the two of them,

763
00:50:05,680 --> 00:50:08,960
Speaker 6: and how is it going to be different? Like the

764
00:50:09,040 --> 00:50:14,200
Speaker 6: story obviously the Gossip Girl I P. You know, was

765
00:50:14,920 --> 00:50:19,120
Speaker 6: so popular, very New York like the music is more

766
00:50:19,160 --> 00:50:19,839
Speaker 6: polished if.

767
00:50:19,800 --> 00:50:23,600
Speaker 4: You think about the music, very New York based, very.

768
00:50:23,520 --> 00:50:32,040
Speaker 6: Like yeah, things and like and you know, back to

769
00:50:32,080 --> 00:50:35,000
Speaker 6: those conversations that you have, like how is it going

770
00:50:35,080 --> 00:50:37,040
Speaker 6: to be different? And and as I said, they're both

771
00:50:37,040 --> 00:50:40,600
Speaker 6: such music fans. They brought so much to the table

772
00:50:40,640 --> 00:50:42,400
Speaker 6: as far as like I want I want it to

773
00:50:42,440 --> 00:50:45,080
Speaker 6: be like this, and we have.

774
00:50:45,160 --> 00:50:46,279
Speaker 4: We went on a grand.

775
00:50:46,040 --> 00:50:50,560
Speaker 6: Adventure like and of course Lady Gaga was on camera,

776
00:50:51,440 --> 00:50:54,440
Speaker 6: which was so fun. I still have the that she

777
00:50:54,600 --> 00:50:58,080
Speaker 6: was on in my in my collection.

778
00:50:58,680 --> 00:50:58,960
Speaker 4: Wow.

779
00:51:02,160 --> 00:51:05,319
Speaker 2: See, you've always been breaking artists like this is just

780
00:51:06,920 --> 00:51:10,480
Speaker 2: and the rain hasn't stopped. It's like you, I love

781
00:51:10,560 --> 00:51:14,280
Speaker 2: hearing about how much you just love music. You really

782
00:51:14,320 --> 00:51:17,880
Speaker 2: do care, you really do respect it. You've been like

783
00:51:17,960 --> 00:51:23,799
Speaker 2: such a champion of independent artists and big artists, like

784
00:51:23,880 --> 00:51:27,239
Speaker 2: you don't discriminate, and it's it's really wonderful to see

785
00:51:27,280 --> 00:51:31,359
Speaker 2: because it is being a team player and whatever makes

786
00:51:31,360 --> 00:51:35,680
Speaker 2: the story work the best. And like you've also been

787
00:51:35,719 --> 00:51:38,680
Speaker 2: a part of like a wonderful organization like Music Cares

788
00:51:39,200 --> 00:51:41,319
Speaker 2: for a really long time. So it's it's just nice

789
00:51:41,320 --> 00:51:44,600
Speaker 2: to see that you care and work and out of work,

790
00:51:45,880 --> 00:51:47,839
Speaker 2: can you tell what people tell people a little bit

791
00:51:47,840 --> 00:51:50,640
Speaker 2: about Music Cares before we let you go, just because it's.

792
00:51:50,480 --> 00:51:54,600
Speaker 4: A wonderful way to end. First of all, thank you

793
00:51:54,920 --> 00:51:55,359
Speaker 4: for the.

794
00:51:55,400 --> 00:52:01,759
Speaker 6: Good conversation today, like so fun too, ye remember, and

795
00:52:01,880 --> 00:52:06,759
Speaker 6: to talk through some of these really important moments to me,

796
00:52:07,000 --> 00:52:10,239
Speaker 6: it's great that it's that it's.

797
00:52:09,960 --> 00:52:12,680
Speaker 1: Yeah to you too.

798
00:52:13,960 --> 00:52:17,799
Speaker 6: And and I think, like to your point about big

799
00:52:17,920 --> 00:52:22,400
Speaker 6: artists or very popular artists or or up and comers,

800
00:52:22,480 --> 00:52:26,239
Speaker 6: like great is great, yes, great is great, and like

801
00:52:26,760 --> 00:52:32,960
Speaker 6: there's there's we should highlight the best, you know, always

802
00:52:33,000 --> 00:52:38,160
Speaker 6: the best music. And I don't, you know, I try

803
00:52:38,640 --> 00:52:42,560
Speaker 6: try to not get caught up. And if somebody besides

804
00:52:42,640 --> 00:52:44,719
Speaker 6: me knows about it, it must not be good.

805
00:52:45,640 --> 00:52:46,880
Speaker 4: To pretend, you know.

806
00:52:48,560 --> 00:52:53,000
Speaker 6: Music Cares is the charity arm of the Recording Academy

807
00:52:53,480 --> 00:52:59,319
Speaker 6: the Grammys more colloquially, and it does great work for

808
00:52:59,520 --> 00:53:07,399
Speaker 6: music people, so not only artists, producers, but also the

809
00:53:07,400 --> 00:53:13,720
Speaker 6: the folks in the industry that support those artists, sound people,

810
00:53:14,640 --> 00:53:17,879
Speaker 6: managers and as they do great work.

811
00:53:17,920 --> 00:53:18,879
Speaker 4: They do hearing.

812
00:53:18,600 --> 00:53:25,440
Speaker 6: Clinics, they do mental health work, uh and have supported

813
00:53:26,360 --> 00:53:29,719
Speaker 6: musicians and music people in need for many years now.

814
00:53:29,880 --> 00:53:34,200
Speaker 6: They did great work with the tragic Eaton Canyon and

815
00:53:34,600 --> 00:53:39,839
Speaker 6: Palisades fires in LA last year and not you know,

816
00:53:40,040 --> 00:53:40,440
Speaker 6: they're not.

817
00:53:40,719 --> 00:53:44,200
Speaker 4: Natural disaster focused but of course there's an extra special.

818
00:53:43,840 --> 00:53:47,760
Speaker 6: Need sometimes in those times. But it's really close to

819
00:53:48,040 --> 00:53:52,040
Speaker 6: my heart. It's it's a it's a life raft, I think,

820
00:53:52,120 --> 00:53:56,319
Speaker 6: for for folks who need it when they need it, right,

821
00:53:56,800 --> 00:53:59,600
Speaker 6: So thank you for highlighting that.

822
00:53:59,840 --> 00:54:03,319
Speaker 2: It's great organization and it's you know, it's they're better

823
00:54:03,360 --> 00:54:06,840
Speaker 2: for having you involved. And it's just an honor to

824
00:54:06,920 --> 00:54:09,840
Speaker 2: be able to talk to you for shaping our musical

825
00:54:09,880 --> 00:54:15,680
Speaker 2: world seriously legitimately as people who grew up doing music,

826
00:54:16,360 --> 00:54:20,520
Speaker 2: both of us. Those those little things that you know,

827
00:54:20,760 --> 00:54:23,440
Speaker 2: go from you making decisions in your office with your

828
00:54:23,440 --> 00:54:26,480
Speaker 2: teams and talking to all these people and then OC

829
00:54:26,680 --> 00:54:28,799
Speaker 2: comes on and I'm in Plano, Texas, and I'm like,

830
00:54:28,840 --> 00:54:32,759
Speaker 2: what is this music? Reach Like, yeah, like what is this?

831
00:54:32,760 --> 00:54:35,560
Speaker 2: This is like, Mom, come listen.

832
00:54:35,280 --> 00:54:37,839
Speaker 4: To this glorious Death Cab.

833
00:54:39,800 --> 00:54:43,479
Speaker 2: Truly, are you kidding me? I remember making my mom

834
00:54:43,760 --> 00:54:47,040
Speaker 2: drive me to Best Buy to go get Death Cab

835
00:54:47,080 --> 00:54:50,120
Speaker 2: for cutie. Yeah because of that.

836
00:54:50,120 --> 00:54:53,920
Speaker 4: That is a good story. Yeah, that is the story, right.

837
00:54:55,040 --> 00:54:57,319
Speaker 2: And you've done it time and time again. So thank

838
00:54:57,360 --> 00:55:00,680
Speaker 2: you for your work and contribution to you know, our world.

839
00:55:00,719 --> 00:55:02,480
Speaker 1: She'd be very proud of the work you've done.

840
00:55:02,760 --> 00:55:04,560
Speaker 4: Thank you so much, thanks for having me.

841
00:55:06,520 --> 00:55:07,319
Speaker 2: So nice to meet you.

842
00:55:07,480 --> 00:55:08,360
Speaker 1: Nice to meet you.

843
00:55:08,760 --> 00:55:11,120
Speaker 2: Bye bye bye.

844
00:55:12,800 --> 00:55:17,799
Speaker 3: The the resume is resumeing. I I cannot get over

845
00:55:18,960 --> 00:55:22,560
Speaker 3: the body of work that she has done and the

846
00:55:22,600 --> 00:55:25,239
Speaker 3: care that she has given it since the day one.

847
00:55:25,440 --> 00:55:28,439
Speaker 1: Right like you, it's very evident that.

848
00:55:28,400 --> 00:55:31,560
Speaker 3: She cares deeply about the stories, and not just about

849
00:55:31,560 --> 00:55:34,360
Speaker 3: the music and her role in it, but the team

850
00:55:35,080 --> 00:55:38,319
Speaker 3: and the people and the importance of getting the right

851
00:55:38,760 --> 00:55:42,280
Speaker 3: piece of music to tell.

852
00:55:42,160 --> 00:55:43,080
Speaker 1: The right story.

853
00:55:43,320 --> 00:55:46,480
Speaker 2: For very unselfish. Yeah, that is a team player.

854
00:55:46,800 --> 00:55:50,120
Speaker 1: And what a wonderful job to have, my gosh.

855
00:55:49,840 --> 00:55:51,960
Speaker 2: I mean, also, like we need to bring up all

856
00:55:52,000 --> 00:55:58,960
Speaker 2: the accolades and like three time Grammy nomination. She's been

857
00:56:00,000 --> 00:56:02,680
Speaker 2: bill Ward Magazine's Power one hundred Executives and Top Women

858
00:56:02,719 --> 00:56:06,640
Speaker 2: in Music. She's been in Cosmo, Wired, New York Times, Financial,

859
00:56:06,840 --> 00:56:08,400
Speaker 2: wouldn't she reattime like?

860
00:56:09,040 --> 00:56:10,920
Speaker 1: She's just really incredible.

861
00:56:11,000 --> 00:56:14,120
Speaker 2: It's interesting to be able to put a face to

862
00:56:14,320 --> 00:56:17,839
Speaker 2: so many musical important musical moments, and she.

863
00:56:17,800 --> 00:56:20,160
Speaker 1: Had her hands on and Yes was a part of Yes.

864
00:56:20,920 --> 00:56:25,000
Speaker 2: And it's wow, what a what a gift she has

865
00:56:25,040 --> 00:56:26,120
Speaker 2: Like taste, I.

866
00:56:26,200 --> 00:56:30,640
Speaker 3: Know, really good taste, and I'm just such a an

867
00:56:30,760 --> 00:56:35,000
Speaker 3: Encyclopedia of Music Knowledge. My god, I would not want

868
00:56:35,040 --> 00:56:38,759
Speaker 3: to go up against her and Trivia Alex Putsavas. Thank

869
00:56:38,800 --> 00:56:40,960
Speaker 3: you so much for joining us today. We hope you

870
00:56:40,960 --> 00:56:47,320
Speaker 3: guys enjoyed such a fruitful conversation about music in film

871
00:56:47,320 --> 00:56:53,480
Speaker 3: and TV so important, and thanks to you guys for listening,

872
00:56:53,760 --> 00:56:54,840
Speaker 3: and that's what you really missed.

873
00:56:55,480 --> 00:56:58,640
Speaker 2: Thanks for listening, and follow us on Instagram at and

874
00:56:58,719 --> 00:57:00,960
Speaker 2: that's what you really miss pod. Make sure to write

875
00:57:01,000 --> 00:57:03,239
Speaker 2: us a review and leave us five stars. See you

876
00:57:03,280 --> 00:57:03,680
Speaker 2: next time.