Crew Call Live | Behind The Music: Bridgerton and Monsters - video Dailymotion

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Watch Crew Call Live | Behind The Music: Bridgerton and Monsters - Deadline on Dailymotion

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00:00Okay, let's welcome our guests, Academy Award winner and multi-talented composer, Bridgerton.

00:16He also has a killer score out right now in the wild robot, Mr. Chris Bowers, Bridgerton

00:25Music Supervisor, Mr. Justin Camps, Emmy-nominated Music Supervisor of Halston, and also the

00:34Music Supervisor of Monsters, Amanda Krieg Thomas, Monsters, the Lyle and Eric Menendez

00:44Story Composer, Julia Newman, and her father, 15-time Oscar-nominated composer, Mr. Thomas

00:52Newman. Welcome. So my first question for all of you is, music supervisors and composers,

01:03how do you go at it? When is it decided, no, the needle drop is going to be better or the

01:09score is going to be better? I think for me, I'm always begging Justin to let me do more

01:14covers because I feel like people talk about Bridgerton like, oh, did you do the Ariana

01:18Grande cover, the Taylor Swift? I'm like, no, I just do the underscore. But I feel like a lot

01:26of those things are kind of decided in a lot of the production of the show. I should like

01:32to try something a little different tonight.

01:48There's a lot of meetings about the score and the needle drops as well. And we have spotting

01:59sessions where we have more detailed conversations with everybody, the producers, everyone there as

02:04we're watching the show together and having those arguments. And I'm like, I don't think we need

02:10score here. This is too much, too much score. And then how about, how about on Monsters,

02:17the whole 80s and 90s homage? Milli Vanilli. I mean, it was just, it was just kind of really

02:25built in and was integral to the story. So I think that there was a real respect from the

02:29beginning where score was going to play versus source. And then it was just a matter of kind

02:35of negotiating tone, right? So because we have so many pieces of source music throughout the show,

02:43then it's a conversation more about how score is interacting with that source

02:48in order to make both of those the most effective dramatically as possible.

02:52Yeah, we know we're not here for the 1055. Look, we're here. Is there something that

03:07we can escalate this to? Sir, I told you we're closed. Yes, yes, yes. You said that already,

03:12but I asked for more white zen.

03:19And like in a lot of the needle drops we ended up using really kind of played tonally,

03:25like played tonally light. Like you got like the Milli Vanilli and Snap the Power and Dirty Cash.

03:31And like a lot of those songs, like none of those were really dark songs. Ice Ice Baby, you know,

03:36so the songs really sort of added the levity, this sort of like obviously setting the time and place

03:43of the late 80s, early 90s. And so, yeah, the score really kind of got this interesting job

03:48of playing in contrast to, you know, we just ended up doing like almost different things

03:53with what we were exploring sonically. Beautiful. Kitty, can I scoot you in just a bit?

04:06Towards Lyle. OK, give me another big smile. Boy, look at those pearly whites. What a family.

04:15So a general question for the music supervisors, is every song obtainable? You've got Billie Eilish

04:23and Taylor Swift, and you've got the Milli Vanilli catalog. Is every song always obtainable

04:30or are there the ones that got away? I would say every song is not obtainable,

04:37unfortunately. You know, we always like to try when possible because you never know. People's

04:43feelings change and things. But, you know, we have yeah, we have gotten denials on things

04:48and for Bridgerton as well. But there's always something else that can usually work just as

04:52good, if not better, you know, after you face a denial like that.

04:56I'd very much like to be more than friends. So much more.

05:14Monsters is actually one of the harder shows for us. We got a lot of denials on this show

05:19and we've gotten a lot of denials on things in the past. And sometimes people just don't

05:24want to be associated with these real life people and these real life events. And especially if it

05:32is historically documented that they were connected to it. And so that so then we're

05:36always sort of figuring out, well, like, how do we sort of explain the use and explain what they're

05:43being a part of? And sometimes that does not work at all and you still get a no. But sometimes you

05:50get the yes. And we got some great yeses on this one and all that.

05:54So to the Newmans, I think you're the first father and daughter composing.

05:59It was always my idea.

06:03The dream of mine.

06:06Talk about coming to work together.

06:09When I entered his studio after going to USC, I understood that I was entering into that studio,

06:16not as his daughter, but as somebody who was there to learn. And I think approaching our

06:21relationship from that foundation of respect, I think really allowed it to blossom creatively.

06:28And what I found was that when I deferred to my dad as the authority creatively, musically,

06:34as it related to how it was that the team was being run, what he gave me in return was the

06:40ability to exercise my creative muscles. And we just kind of got into it. I mean,

06:45in the end, you just kind of you just kind of go for it. And here's an idea going this way.

06:50Here's an idea going that way. I'll take this. You take that. One starts together.

06:54Another starts separately. And then, you know, all different ways. And that was that was thrilling.

07:00I want to on this note, give a shout out to Julia and Tom,

07:03because I got to go to the Feud main title recording session.

07:06Oh, yeah, we did.

07:07And the dialogue between you both was just so professional.

07:12And so you were just so confident in that moment. And Tom, you were just like

07:15receptive. And therefore, and just like it was just such a like it was like truly a career

07:19highlight to witness that, you know, team play at its best. And that was the greatest thing,

07:27though, you know. Thank you. Thank you so much for that.

07:31So for Justin and Amanda, going back to getting that great song, share with us from this past

07:41season that song that you got that you're like, oh, yes, thank God. This is awesome.

07:46This is fantastic.

07:48Well, I think, yeah, this season of Bridgerton, we were excited to have two Taylor Swift songs.

07:54And, you know, it was like, you know, we're reaching out to clear like when she's at her,

08:00you know, she only ever gets bigger and bigger, you know, so it was like right during the

08:05heiress tour and everything. And it was just very exciting to to get to use two of those songs.

08:10And there was a chance that, you know, since we were using two, there was a chance that maybe the

08:14second one might get denied or something because maybe it was going to become a thing. Like now,

08:19is it going to be like a whole Taylor season or something? And she might be worried about that.

08:22Do we know if she's a Bridgie?

08:24They were they were very excited about the uses. And, you know, they just

08:29they actually they actually approved pretty quickly on that. And they just wanted to

08:33they didn't you know, a lot of the times we'll send for bigger artists like that,

08:36we will send like clips or footage for them to see. And they they wanted to see the clips, too.

08:40But I think just because they were excited about it and just wanted to see it after they

08:43had already approved. So I think that that was pretty exciting for us on season three.

08:48And then, Amanda, was there a backup plan for the creators? If if if you couldn't clear

08:55the songs, there was there a men without hats? Was it the safety? Did the title become safe?

09:04It was Milli Vanilli or bust. That was it. That was it.

09:08Wow. Wow. Ladies and gentlemen, Netflix is the fall and it behind the music.

09:15Thank you, Chris Bowers, Justin Camps, Amanda Creek, Thomas Julia Newman,

09:20Thomas Newman. Thank you so much. Pleasure.

Crew Call Live | Behind The Music: Bridgerton and Monsters

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