Lily Moayeri When Rian Johnson comes to television, he does so with a “big swing,” as music supervisor Thomas Golubić puts it. The multiple Emmy and Grammy nominee (“Better Call Saul,” “Six Feet Under”) is on board for Johnson’s “Poker Face” starring Natasha Lyonne, who also executive produces the hour-long dark comedy (and co-wrote and directs the eighth episode, “The Orpheus Syndrome”). A former Guild of Music Supervisors president, and three-time GMS Award winner, most notably for “Breaking Bad,” Golubic brings his more than 20 years of music supervision experience to “Poker Face.” The first season put Golubić’s cross-section of skills to the test with hurdles like difficult clearances to on-camera musical performances and creation of original songs. Golubić met these challenges head-on with support from his team at SuperMusicVision, which includes Olivia Schlichting and clearance services by Jill Meyers Music.
Composer Alexandre Desplat Breaks Down The Score Of ‘Pinocchio’ & Finding “Moments Of Joy And Happiness” Amidst Grief
10.02.2023 - 21:25 / deadline.com
It’s impossible to talk about Guillermo del Toro’s Pinocchio without considering the music. Del Toro’s Netflix adaptation of the Carlo Collodi story takes place in 1930s Italy, during the Fascist reign of Benito Mussolini. In this story, woodcarver Geppetto (David Bradley) loses his son Carlo in an aerial bombing and carves Pinocchio (Gregory Mann) from the tree at his son’s grave. Composer Alexandre Desplat, who worked with del Toro on The Shape of Water, was tasked with capturing the “joyous melancholy” of the wooden boy in music. To enhance the connection between the character of Pinocchio and the music, Desplat made the choice to only use wooden instruments in the score. Below, Desplat breaks down three key pieces of the score – “Carlo’s Theme”, “Going to Town” and “Saving Geppetto” – with the corresponding scenes included for reference.
“Carlo’s Theme” was the first piece of the score that Desplat wrote. “It was crucial for me to find that theme before the melody, before I could develop and find other ideas,” he says. The theme, which reprises throughout the score, is important to achieve the “joyous melancholy” that Desplat and del Toro wanted for the story. “The loss of a child is something absolutely tragic and difficult to overcome,” he says, “but when you remember the child, you remember good moments, beautiful moments of joy and happiness, not just the grief.” For this scene in the film, “Carlo’s Theme” comes back to mark another instance of Geppetto dealing with the loss of his son. When Desplat first wrote the piece, he intended for it to underscore Pinocchio as well as Carlo. “Pinocchio is the creature created to give birth to Carlo again,” he says. “‘Carlo’s Theme’ is actually Pinocchio’s theme.”
Desplat
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