![]() He thought it was so important that the Batman movie didn’t reference this crazy, silly TV show. “But here he was like, we can reference it. “Tim said on ‘Batman,’ ‘I don’t want any musical reference to the television show,'” Elfman said. What was particularly interesting was that Burton was willing to incorporate the iconic finger-snapping theme from “The Addams Family” in the ’60s at key moments. He treated this like a Tim Burton film which means, ‘You don’t talk to anyone but me.'” “He’s worked with showrunners before, whereas I’ve just worked with Tim. “Chris and I share responsibilities but our experiences are completely different,” Elfman said. “Wednesday” co-composer Chris Bacon spoke about how they worked to “synchronize the score with the songs” and wanted “to give a little bit more of a Gothic horror edge” to this vision of the Addams Family.Īnd of course, he was working with the legendary Danny Elfman, Burton’s longtime collaborator, to create unique cues. I don’t want to say it was easy, but… it was easy.” And when it was cut together, I couldn’t believe it, it was so awesome. Then it was an easy clearance process, which is always nice when that happens. And everybody else loved it when we pitched it. “They immediately came to mind because I’d say their whole catalogue is this psycho-billy, goth, dark thing that would lend itself to a dance. “I’ve been a Cramps fan since forever, and when we started our Spotify playlist ‘Goo Goo Muck’ was in the first five songs we put on there,” Malone said. Music supervisor Jen Malone’s choice of “Goo Goo Muck” by The Cramps for the title character’s now-iconic dance in Episode 4 is already considered one of the all-time great needle drops. With “Wednesday,” Tim Burton made his television debut for a clever update of “ The Addams Family,” featuring Jenna Ortega in a star turn as the pigtailed teen. “With Amy, her life felt much more about the façade of things, so we had softer things: glockenspiel and felt piano.” “Danny, from the very first frame of the show, there’s all this tension all this anxiety,” Krlic said. Yeun’s character, Danny, has a much more jagged musical accompaniment. Luckily, we got a batch of music from Bobby before we started cutting.”įor Krlic it was about finding motifs that suited each character. “The most important thing was that the characters feel real - they go completely off the rails, but you need to understand where they’re coming from. “There’s very broad comedy, there’s deep emotions, and so much anxiety,” Zempel said. On “Beef,” starring Ali Wong and Steven Yeun, Netflix teamed up with A24 and creator Lee Sung Jin to tell a twisty story of road rage gone very wrong. How you use music to create character was especially important for “Beef” and “Wednesday.” ![]() “If it’s like lights that are flickering, it’s about pushing the key or frequency of the sound to see if there’s a way to make it more unsettling.” “A lot of it is trial and error,” Henighan said. Henighan talked about the need to “make sure the scale of the sound is matching the scale of what we’re seeing emotionally and story-wise.” He pitched down baby cries to create monster sounds, and used the sounds of insects to be the sound of flickering lights. Netflix Gets a Flood of New Subscribers After U.S.
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