![]() ![]() Hopefully it makes the audience kind of like, I'm not sure what I should be feeling right now. ![]() The actual beatdown was so difficult to watch, but then having Air Supply gave it some comic relief, so you're laughing but you're terrified of what you just saw. We turned the scene completely on its head. In episode two, I love the Air Supply that we put in. It's very visual, the show, the cinematography, the way Sam directs, the performances, and everything really contributes to making the scene work. In episode four we've got an old soul song in there and there's a wide range of genres that we are able to use in the show. Sitting in with the editors, and looking at the different scenes, and seeing where we could do some different ideas so it’s not all wall to wall hip-hop. ![]() I work best when I see pictures, so if they're at a party or a club, just show me a picture of the club and then I can kind of get it, like what music would work there. So there's serendipitously some songs that Sam scripted in, some of them were mood placeholders, and some of them were songs that we definitely wanted to get stuff that Sam was listening to when he wrote it. ![]() When we had “Fly Me To The Moon” in episode two, for example, we knew they were going to sing that, it was scripted in from Sam. Were there instances when you knew a specific song should be linked to this scene and you were kind of involved during the production, versus post-production? When did this whole journey with Euphoria initially start? I interned for three days and then I got a job as a coordinator on a VH1 show and I've kind of been working ever since. To be an intern for a company like Viacom you have to get school credit, so I just went to Los Angeles Community College, I filled out an add slip, I never went, I never paid, I was there for the internship. I was a little bit older, and I knew that all the interns were going to be college kids but you know you have to throw away your ego and I knew that I would learn and meet people. I just learned a whole new language around music supervision.Īt the end of the summer, I knew that there wasn't going to be a job there for me so I was on an email newsgroup of women in the music industry and someone posted that MTV was looking for interns in their supervision department. I was with him and his team for the summer in 2009 and it was amazing. Very serendipitously, I met Dave Jordan, who is the music supervisor for all the Marvel films, and I told him I wanted to intern for him.' He was like 'intern? why would you want to intern' because I have been in the music industry we knew a lot of label people and music industry folks and I was just like look this is the entertainment industry nobody is going to pay me for something I don't know how to do and I have to start at the bottom and I respect that process. I ended up packing up all my stuff in Boston and moved out to California without knowing anyone. Then I saw the movie Iron Man and the music supervisor credit rolled by and I was like, Music supervisor. I was a publicist for rock bands and kind of got really burnt out on that and I didn't really know what I wanted to do. How did you get started in the world of music supervision? For those who aren't really informed on your career, you've been doing this for a minute now. ![]()
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