He trusts the editors and myself, and we get a bunch of options that we feel work, and then we present it to him, and since it’s his vision he picks the right one. We’re so lucky Sam has such great taste in music and is so open. “Of course we had to have that song in episode two.
That may be a little different, but again, it’s about what song enhances the story and what we’re seeing.” “Stuntin’ Like My Daddy,” Lil Wayne and Birdman When you have an episode with a party, and it’s wall-to-wall music, it’s very intense.
But when we’re at a party in episode six, it’s very intense because there’s so much music. Having that Migos song in the premiere, with all the guys in the basement, was perfect. Kat’s going to be listening to DMX, but Maddie’s going to be listening to Asian Doll, or the female trap artists, which we use a lot of and I am really excited for some of the future episodes where that is the focus. “What Kat might be listening to versus Maddie is going to be different, but the same. Here, she annotates the soundtrack for the pilot and explains her thinking behind the music in Euphoria. I go into the rabbit holes and see what’s good.” “I have a good network of friends who know what’s poppin’ and use playlists. There are a lot of people I work with in the licensing community who always have up-and-coming artists,” she explained. I just find the artists and read all the blogs.
#Hbo euphoria trailer song series#
Malone, who has worked on the music for a handful of television series with notable soundtracks, such as Atlanta and Boomerang, keeps current much the same way the rest of us do: “Through Spotify, Soundcloud, Instagram, and Twitter. And it is Sam’s vision, so he really trusts us and gives us a lot of autonomy to find the songs to fit the scenes that fulfill his vision.” “I think he really trusts Sam and myself to find the voice of the show. “ always keeps his eye on the cuts, and he’s always hearing it,” Malone said. Such was the case for Euphoria, which paired Andy Williams’s “Can’t Get Used to Losing You,” a song that Beyoncé’s “Hold Up” heavily samples, with the superstar’s critically acclaimed 2016 track for maximum impact on the show’s title card.ĭrake, an executive producer of the show, has a watchful eye over the final product, but it’s Euphoria’s music supervisor, Jen Malone, in tandem with the series creator Sam Levinson, editor Julio Perez IV, and composer Labrinth, who makes it all happen. It’s safe to say that clearing a Beyoncé song for a pilot of a show is no simple task, but if you’ve got the money and the right team on board, it’s possible. That same episode also features tracks by Migos, Megan Thee Stallion, and even Beyoncé, and marks Euphoria as a show that not only purports to capture teenagedom in America right now but has the music to match. In the pilot, Rue (played thoughtfully by Zendaya, eager to prove that she should no longer be typecast in the goody two-shoes roles that launched her career) gets high at a house party while Jamie XX’s “I Know (There’s Gonna Be Good Times)” bubbles up to the surface. But one element that makes the scenes that have caused such an uproar online so effective is the music that underscores them. By now you’ve probably heard about Euphoria’s parental shock value, or its graphic depictions of sex and drug use.
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