“We didn’t know what we were doing,” says Josh Schwartz, creator of The O.C. For the show’s first few episodes, the music choices were simply plucked from his own iPod. But once the now-legendary music supervisor Alexandra Patsavas came aboard, the show turned into a weekly showcase for some of the best music of the ’00s — and a key force behind the mainstream rise of a certain brand of indie-leaning rock in that decade, from Death Cab for Cutie to the Killers. It didn’t hurt that...
- 12/25/2023
- by Brian Hiatt
- Rollingstone.com
“Welcome to The O.C., bitch!”
With those five immortal words, a cultural phenomenon was born.
The brainchild of a then-25-year-old Josh Schwartz, and guided by the steady hand of his producing partner Stephanie Savage, The O.C. ran for four chaotic seasons on Fox before sailing off into the sunset (or, in the case of poor Marissa Cooper, crashing in a fiery wreck).
A fish-out-of-water tale about Ryan Atwood (Benjamin McKenzie), a troubled kid from Chino who’s adopted by Sandy (Peter Gallagher), Kirsten (Kelly Rowan), and Seth Cohen (Adam Brody...
With those five immortal words, a cultural phenomenon was born.
The brainchild of a then-25-year-old Josh Schwartz, and guided by the steady hand of his producing partner Stephanie Savage, The O.C. ran for four chaotic seasons on Fox before sailing off into the sunset (or, in the case of poor Marissa Cooper, crashing in a fiery wreck).
A fish-out-of-water tale about Ryan Atwood (Benjamin McKenzie), a troubled kid from Chino who’s adopted by Sandy (Peter Gallagher), Kirsten (Kelly Rowan), and Seth Cohen (Adam Brody...
- 11/28/2023
- by Marlow Stern
- Rollingstone.com
Netflix debuted the first “Bridgerton” Season 3 images on Saturday during its fan-centric Tudum event, offering a first look at the new episodes of the wildly popular Netflix series based on Julia Quinn’s books.
Season 3 will deviate from the book series order by skipping Benedict’s love story (the crux of the third book) for that of Penelope (Nicola Coughlan) and Colin (Luke Newton), which fans are dying to watch.
Season 2 saw Viscount Anthony Bridgerton (Jonathan Bailey) fall in love with Kate Sharma (Simone Ashley) after first thinking that he should wed her sister Edwina (Charithra Chandran), who was proclaimed the season’s “incomparable.” At the end of Season 1, it was revealed that Penelope is actually Lady Whistledown (voiced by Julie Andrews), the ton’s gossipmonger that always has something sensational printed on her morning pamphlets.
The spinoff series “Queen Charlotte: A Bridgerton Story” regaled Netflix in May, filling in...
Season 3 will deviate from the book series order by skipping Benedict’s love story (the crux of the third book) for that of Penelope (Nicola Coughlan) and Colin (Luke Newton), which fans are dying to watch.
Season 2 saw Viscount Anthony Bridgerton (Jonathan Bailey) fall in love with Kate Sharma (Simone Ashley) after first thinking that he should wed her sister Edwina (Charithra Chandran), who was proclaimed the season’s “incomparable.” At the end of Season 1, it was revealed that Penelope is actually Lady Whistledown (voiced by Julie Andrews), the ton’s gossipmonger that always has something sensational printed on her morning pamphlets.
The spinoff series “Queen Charlotte: A Bridgerton Story” regaled Netflix in May, filling in...
- 6/17/2023
- by Dessi Gomez
- The Wrap
“Queen Charlotte: A Bridgerton Story” has one of the most complicated, and yet stylistically unified, scores of any series this year — Kris Bowers‘ original score, the 18th-century period music, and a surprising number of string-quartet covers of 21st-century hits.
The Netflix series, a prequel to the 2021 hit “Bridgerton,” imagines a Black bride for England’s King George III in 1761, chronicling their initially rocky marriage and her gradual understanding of the monarch’s mental illness; flash-forwards to 1817 feature an older and wiser queen.
Bowers, who earned two Emmy nominations for his work, returned for the prequel but took a different approach. “This show needed a level of intimacy that the score for ‘Bridgerton’ doesn’t necessarily have,” he says. “My initial instinct was to write for a smaller ensemble, and to mic and mix the music in a way that was more intimate and tactile, a sense of closeness to the instruments.
The Netflix series, a prequel to the 2021 hit “Bridgerton,” imagines a Black bride for England’s King George III in 1761, chronicling their initially rocky marriage and her gradual understanding of the monarch’s mental illness; flash-forwards to 1817 feature an older and wiser queen.
Bowers, who earned two Emmy nominations for his work, returned for the prequel but took a different approach. “This show needed a level of intimacy that the score for ‘Bridgerton’ doesn’t necessarily have,” he says. “My initial instinct was to write for a smaller ensemble, and to mic and mix the music in a way that was more intimate and tactile, a sense of closeness to the instruments.
- 6/14/2023
- by Jon Burlingame
- Variety Film + TV
Bridgerton composer Kris Bowers is back for its spinoff drama series Queen Charlotte: A Bridgerton Story, which delves into the life and rise to power of, well, Queen Charlotte. With its exploration of mental illness and fitness to rule, the show is tonally much darker than its predecessor, says Bowers, which provided its own set of challenges in composing the score.
Kris Bowers
“One of the things that I really gleaned, even from my first read of the scripts, was just how much it felt more grounded than Bridgerton. It tonally felt a bit more serious and intimate because we’re very much dealing with Charlotte and this relationship [with King George],” Bowers tells The Hollywood Reporter of the royal couple loosely based on the mid-18th century’s Queen Charlotte of Mecklenburg-Strelitz and King George III.
The composer spoke about which instruments he used, his preparation for this show and...
Kris Bowers
“One of the things that I really gleaned, even from my first read of the scripts, was just how much it felt more grounded than Bridgerton. It tonally felt a bit more serious and intimate because we’re very much dealing with Charlotte and this relationship [with King George],” Bowers tells The Hollywood Reporter of the royal couple loosely based on the mid-18th century’s Queen Charlotte of Mecklenburg-Strelitz and King George III.
The composer spoke about which instruments he used, his preparation for this show and...
- 6/3/2023
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
Like “Bridgerton,” “Queen Charlotte features orchestral covers of modern music, but an original composition by Kris Bowers kicks off the soundtrack during Charlotte and George’s wedding in the first episode.
Bowers co-wrote “A Feeling I’ve Never Been” with Tayla Parx based on the work of Joseph Bologne Chevalier de Saint-Georges, a Creole composer who was one of the first men of color to become known for his compositions, and who also happened to be an excellent fencer (and the subject of the 2022 film “Chevalier.”)
“We looked at a few pieces that inspired us and then came up with this seed of an idea that we then built into this larger piece, and so because we approached it with much more of a songwriting way rather than score, that’s why it belongs with some of those other [soundtrack] songs, but it was part of a larger idea that Alex...
Bowers co-wrote “A Feeling I’ve Never Been” with Tayla Parx based on the work of Joseph Bologne Chevalier de Saint-Georges, a Creole composer who was one of the first men of color to become known for his compositions, and who also happened to be an excellent fencer (and the subject of the 2022 film “Chevalier.”)
“We looked at a few pieces that inspired us and then came up with this seed of an idea that we then built into this larger piece, and so because we approached it with much more of a songwriting way rather than score, that’s why it belongs with some of those other [soundtrack] songs, but it was part of a larger idea that Alex...
- 5/18/2023
- by Dessi Gomez
- The Wrap
Award winning composers helped turn this year’s Netflix Playlist event into an aural and visual spectacle.
The music from some of the streaming platform’s awards contenders and series were brought to life for live audiences alongside immersive, wall-to-wall projections. Alexandre Desplat, Nathan Johnson and Danny Elfman were among those in attendance for an orchestral performance of select music cues from films like “White Noise,” “Bardo: False Chronicle of a Handful of Truths,” “Glass Onion: A Knives Out Mystery,” “Lady Chatterley’s Lover” and “Pinocchio.”
The event also served as a platform for Netflix to debut various teaser clips from upcoming content like Season 5 of “The Crown,” the pilot season of “Wednesday” and “Roald Dahl’s Matilda the Musical.”
Below are the top 10 highlights of the evening’s festivities:
Alexandre Desplat Guest Conducts “Pinocchio” Score
Best known for his Academy-Award winning compositions for blockbusters like director Wes Anderson’s “Fantastic Mr. Fox” and “Isle of Dogs,...
The music from some of the streaming platform’s awards contenders and series were brought to life for live audiences alongside immersive, wall-to-wall projections. Alexandre Desplat, Nathan Johnson and Danny Elfman were among those in attendance for an orchestral performance of select music cues from films like “White Noise,” “Bardo: False Chronicle of a Handful of Truths,” “Glass Onion: A Knives Out Mystery,” “Lady Chatterley’s Lover” and “Pinocchio.”
The event also served as a platform for Netflix to debut various teaser clips from upcoming content like Season 5 of “The Crown,” the pilot season of “Wednesday” and “Roald Dahl’s Matilda the Musical.”
Below are the top 10 highlights of the evening’s festivities:
Alexandre Desplat Guest Conducts “Pinocchio” Score
Best known for his Academy-Award winning compositions for blockbusters like director Wes Anderson’s “Fantastic Mr. Fox” and “Isle of Dogs,...
- 11/8/2022
- by Katie Reul
- Variety Film + TV
“I definitely felt a lot of pressure going into season two to make sure that I lived up to what everyone was hoping for,” declares Justin Kamps about assuming the role of music supervisor on the second season of Netflix’s hit drama “Bridgerton.” The Regency era romance is known for its music, particularly its classical covers of modern pop hits, and Kamps is instrumental in not only choosing those songs, but also making sure that they support the themes of the show. Check out more of our exclusive video interview with Kamps above.
Kamps assumed the role of music supervisor this season, taking over for last year’s Emmy-nominated music supervisor Alexandra Patsavas. For Kamps, who counts Patsavas as a mentor, the opportunity to join “Bridgerton” was rather nerve-wracking. “I was very nervous taking over and wanting to live up to fan expectation,” he says. “The first season was...
Kamps assumed the role of music supervisor this season, taking over for last year’s Emmy-nominated music supervisor Alexandra Patsavas. For Kamps, who counts Patsavas as a mentor, the opportunity to join “Bridgerton” was rather nerve-wracking. “I was very nervous taking over and wanting to live up to fan expectation,” he says. “The first season was...
- 6/17/2022
- by Tony Ruiz
- Gold Derby
Writer-director Siân Heder makes it very clear she knew the double meaning of “Coda,” the title of her new Apple TV Plus film, an acronym for Child of Deaf Adults. It’s used to describe the movie’s star, Emilia Jones, who plays would-be singer Ruby, a character eking out a living with her father Frank (Troy Kotsur), mother Jackie (Marlee Matlin) and brother Leo (Daniel Durant) — all deaf actors — aboard a fishing boat in scenic Gloucester, Mass.
“When I learned about the use of the term within the deaf community, in the context of music, it resonated for a coming-of-age story,” explains Heder, whose previous film was the gritty 2016 Sundance hit, “Tallulah,” with Allison Janney and Elliot Page. “To me, ‘Coda’ also represents the end of childhood, saying goodbye to the identity which exists within your family, bringing that part of your life to a close.”
From the moment...
“When I learned about the use of the term within the deaf community, in the context of music, it resonated for a coming-of-age story,” explains Heder, whose previous film was the gritty 2016 Sundance hit, “Tallulah,” with Allison Janney and Elliot Page. “To me, ‘Coda’ also represents the end of childhood, saying goodbye to the identity which exists within your family, bringing that part of your life to a close.”
From the moment...
- 8/23/2021
- by Roy Trakin
- Variety Film + TV
Though HBO Max’s “Gossip Girl” revival series differs from the original in key ways — a more diverse cast, LGBTQ+ storylines, the incorporation of social media — one aspect in which the show stays the same is just how high-priority its soundtrack is.
The music of the original series, which premiered in 2007, helped to bolster the careers of bands like Florence and the Machine and the Kooks and superstars like Lady Gaga and Robyn, thanks to music supe Alexandra Patsavas. Now, Rob Lowry — whose previous music supervision credits include “The Bold Type” and horror film “Freaky” — is filling those shoes, and his soundtrack is bound to please viewers from all generations.
“The first ‘Gossip Girl’ did such a great job of integrating all these aspects of pop culture, pop music and indie artists. Music, film and TV have changed so much and the way people discover music has changed so much,...
The music of the original series, which premiered in 2007, helped to bolster the careers of bands like Florence and the Machine and the Kooks and superstars like Lady Gaga and Robyn, thanks to music supe Alexandra Patsavas. Now, Rob Lowry — whose previous music supervision credits include “The Bold Type” and horror film “Freaky” — is filling those shoes, and his soundtrack is bound to please viewers from all generations.
“The first ‘Gossip Girl’ did such a great job of integrating all these aspects of pop culture, pop music and indie artists. Music, film and TV have changed so much and the way people discover music has changed so much,...
- 7/8/2021
- by Ellise Shafer
- Variety Film + TV
“Bridgerton” debuted Christmas Day of 2020 on Netflix and within weeks became the streaming service’s most watched series in history. More than 80 million households tuned in to see the romantic entanglements of the London upper classes during the Victorian era. The drama’s wild popularity has led to Netflix renewing it for three additional seasons.
Based on the series of novels by Julia Quinn, the first season of “Bridgerton” focuses on the titular family, in particular, oldest daughter Daphne (Phoebe Dynevor). Daphne enters the world as a debutante who is favored by Queen Charlotte (Golda Rosheuvel) and meets Simon (Regé-Jean Page), a duke who refuses to marry. Their turbulent love story is set against the backdrop of the city’s obsession with a scandal-obsessed gossip writer known as Lady Whistledown (voiced by Julie Andrews), whose identity is revealed to the audience as Penelope Featherington (Nicola Coughlan), a warm-hearted but often overlooked young lady.
Based on the series of novels by Julia Quinn, the first season of “Bridgerton” focuses on the titular family, in particular, oldest daughter Daphne (Phoebe Dynevor). Daphne enters the world as a debutante who is favored by Queen Charlotte (Golda Rosheuvel) and meets Simon (Regé-Jean Page), a duke who refuses to marry. Their turbulent love story is set against the backdrop of the city’s obsession with a scandal-obsessed gossip writer known as Lady Whistledown (voiced by Julie Andrews), whose identity is revealed to the audience as Penelope Featherington (Nicola Coughlan), a warm-hearted but often overlooked young lady.
- 7/5/2021
- by Tony Ruiz
- Gold Derby
From the period-specific tunes of “The Crown” to the surprising instrumental reworkings of modern pop hits in “Bridgerton,” this season’s Emmy contenders in music supervision showcase the growing field’s continued influence.
Alexandra Patsavas
“Bridgerton” may give veteran music supervisor Patsavas her best shot yet at an Emmy thanks to her clever use of chamber music-style covers of modern pop songs, which help trace the emotional journey of Daphne and Simon (Phoebe Dynevor and Regé-Jean Page) in Regency-era London.
The Vitamin String Quartet’s renditions of Ariana Grande’s “Thank U, Next,” Maroon 5’s “Girls Like You,” Shawn Mendes’ “In My Blood” and Billie Eilish’s “Bad Guy,” along with Duomo’s cover of Taylor Swift’s “Wildest Dreams,” sent streaming numbers into the stratosphere soon after the Netflix series debuted in December.
According to Patsavas, discussions about “how a period project could be relevant and inviting,” musically speaking...
Alexandra Patsavas
“Bridgerton” may give veteran music supervisor Patsavas her best shot yet at an Emmy thanks to her clever use of chamber music-style covers of modern pop songs, which help trace the emotional journey of Daphne and Simon (Phoebe Dynevor and Regé-Jean Page) in Regency-era London.
The Vitamin String Quartet’s renditions of Ariana Grande’s “Thank U, Next,” Maroon 5’s “Girls Like You,” Shawn Mendes’ “In My Blood” and Billie Eilish’s “Bad Guy,” along with Duomo’s cover of Taylor Swift’s “Wildest Dreams,” sent streaming numbers into the stratosphere soon after the Netflix series debuted in December.
According to Patsavas, discussions about “how a period project could be relevant and inviting,” musically speaking...
- 6/2/2021
- by Jon Burlingame
- Variety Film + TV
“This was a wonderful project to be a part of,” declares Alexandra Patsavas, the music supervisor of Netflix’s “Bridgerton.” The period drama about finding love in 19th century London has become one of the most popular shows of the season, thanks in part to its music, which often features reimagined versions of contemporary hits. In an exclusive video interview with Gold Derby (watch above), the Grammy-nominated producer discusses the challenges of putting a classical spin on modern pop music.
Patsavas is no stranger to working with executive producer Shonda Rhimes having worked as music supervisor on “Grey’s Anatomy,” “Scandal,” and many other “Shondaland” shows. With “Bridgerton,” Patsavas describes the unique challenge of bridging the worlds of contemporary and classical music. “It is very interesting to think about making sure that the musical character of ‘Bridgerton’ is inviting, is contemporary, but it is fitting for the period,” she explains. I...
Patsavas is no stranger to working with executive producer Shonda Rhimes having worked as music supervisor on “Grey’s Anatomy,” “Scandal,” and many other “Shondaland” shows. With “Bridgerton,” Patsavas describes the unique challenge of bridging the worlds of contemporary and classical music. “It is very interesting to think about making sure that the musical character of ‘Bridgerton’ is inviting, is contemporary, but it is fitting for the period,” she explains. I...
- 5/29/2021
- by Tony Ruiz
- Gold Derby
It has been quite the year for Kris Bowers. The Emmy-winning composer earned his first Oscar nomination for his short film “A Concerto Is a Conversation,” and he is the brain behind the music of the hugely popular Netflix period drama “Bridgerton.” In an exclusive chat with Gold Derby (watch the video above), Bowers reflects on the success of the last year, his attempts to process that success creating the music for one of television’s most buzzed about shows.
Bowers admits that he initially struggled to come up with the right sound for “Bridgerton.” Early attempts veered between traditional classical music and remixed hip-hop tracks, but neither worked for the series. Bowers says it was when he heard some Ravel piano pieces as well as some of the reimagined pop songs obtained by music supervisor Alexandra Patsavas that he began to find what he calls the “groove” of the sound he was going for.
Bowers admits that he initially struggled to come up with the right sound for “Bridgerton.” Early attempts veered between traditional classical music and remixed hip-hop tracks, but neither worked for the series. Bowers says it was when he heard some Ravel piano pieces as well as some of the reimagined pop songs obtained by music supervisor Alexandra Patsavas that he began to find what he calls the “groove” of the sound he was going for.
- 5/28/2021
- by Tony Ruiz
- Gold Derby
As Netflix boasts the success of “Bridgerton’ — the show reached 63 million households in its first month — the L.A,-based ensemble the Vitamin String Quartet has seen its music catalog surpass a billion streams.
Since the release of a “Bridgerton” soundtrack in December, Vitamin String Quartet has seen a 350% increase in streams across DSPs and grown monthly listeners by over 50% on Spotify and Amazon Music. The album was the No. 1 soundtrack on iTunes six weeks in a row and reached No. 5 overall.
Composer Kris Bowers marries traditional instruments with a modern flair. But it’s Vitamin String Quartet that delivers modern interpretations of Billie Eilish’s “Bad Guy” and Ariana Grande’s “Thank U, Next” into the 19th-century universe of the series. Other songs being interpreted include Maroon 5’s “Girls Like You” and “In My Blood” by Shawn Mendes.
Bowers credited the show’s music supervisor for using the band and said,...
Since the release of a “Bridgerton” soundtrack in December, Vitamin String Quartet has seen a 350% increase in streams across DSPs and grown monthly listeners by over 50% on Spotify and Amazon Music. The album was the No. 1 soundtrack on iTunes six weeks in a row and reached No. 5 overall.
Composer Kris Bowers marries traditional instruments with a modern flair. But it’s Vitamin String Quartet that delivers modern interpretations of Billie Eilish’s “Bad Guy” and Ariana Grande’s “Thank U, Next” into the 19th-century universe of the series. Other songs being interpreted include Maroon 5’s “Girls Like You” and “In My Blood” by Shawn Mendes.
Bowers credited the show’s music supervisor for using the band and said,...
- 3/2/2021
- by Jazz Tangcay
- Variety Film + TV
Oscar balloting for the final five nominees in the song and score categories begins March 5. But none of the music supervisors that worked on those movies will get to vote. That’s because the Academy music branch, which chooses the nominees, bars music supervisors — the people who advise and collaborate with filmmakers on songs and other musical matters — from membership.
It’s been a longstanding rule for the branch, which consists of approximately 375 composers, songwriters and music editors. Their argument has always been that membership is limited to those who actually create the musical material that goes into a movie.
“The sense that we don’t contribute creatively to telling stories with music is not an argument that holds water,” says Joel C. High, president of the 500-member Guild of Music Supervisors. “We want to be sitting at the table with our music peers.”
This issue has rankled the music-supervision community for years.
It’s been a longstanding rule for the branch, which consists of approximately 375 composers, songwriters and music editors. Their argument has always been that membership is limited to those who actually create the musical material that goes into a movie.
“The sense that we don’t contribute creatively to telling stories with music is not an argument that holds water,” says Joel C. High, president of the 500-member Guild of Music Supervisors. “We want to be sitting at the table with our music peers.”
This issue has rankled the music-supervision community for years.
- 3/2/2021
- by Jon Burlingame
- Variety Film + TV
The Netflix series “Bridgerton” features incredible sets and costumes and outstanding performances but the glue that holds it all together is the music of Kris Bowers. Soundtracking a story that takes place centuries ago is challenging for any modern composer, but “Bridgerton” does an excellent job of reimagining what a period piece sounds like. Credit Bowers for incorporating traditional instruments that sound as if they’re from the time but with modern flourishes that fit the character of the women on screen. Without going to the extremes of something like Baz Luhrmann’s 2013 remake of “The Great Gatsby,” for which Jay-Z curated the music as an executive producer, Bowers faced the added hurdle of recording during Covid lockdown. But in doing so, he found those elusive five-note themes that unlock an entire orchestral score and interlock perfectly with string quartet interpretations of modern pop songs like Billie Eilish’s “Bad Guy...
- 1/8/2021
- by Jazz Tangcay
- Variety Film + TV
I love a good period drama that eschews “period-appropriate” tunes to go with something a bit more modern. The Bridgerton soundtrack takes this route, with a twist. The Netflix series includes classical versions of a handful of contemporary pop tunes, from Ariana Grande to Shawn Mendes classical covers.
“Everything on the show has a contemporary sensibility to it,” Bridgerton showrunner Chris Van Dusen told Seventeen. “Even though we’re in the 19th century, you sometimes forget about that and that’s intentional. We wanted modern audiences to relate to the show and see themselves on screen.”
Read more Books How Bridgerton Season 2 Can Improve On Season 1 By Amanda-Rae Prescott TV Bridgerton: Let’s Talk About Sex Education, Baby By Kayti Burt
Speaking to Oprah Mag specifically about the Bridgerton soundtrack, Van Dusen said: “The music for us was kind of an evolution we found when making the show as the cuts were coming in.
“Everything on the show has a contemporary sensibility to it,” Bridgerton showrunner Chris Van Dusen told Seventeen. “Even though we’re in the 19th century, you sometimes forget about that and that’s intentional. We wanted modern audiences to relate to the show and see themselves on screen.”
Read more Books How Bridgerton Season 2 Can Improve On Season 1 By Amanda-Rae Prescott TV Bridgerton: Let’s Talk About Sex Education, Baby By Kayti Burt
Speaking to Oprah Mag specifically about the Bridgerton soundtrack, Van Dusen said: “The music for us was kind of an evolution we found when making the show as the cuts were coming in.
- 1/5/2021
- by Kayti Burt
- Den of Geek
Veteran music supervisor Alexandra Patsavas is joining Netflix in the newly created role of director, music creative/production for original series. Starting in July, Patsavas will oversee Netflix’s creative music services and production strategy for original series, “fostering partnerships between the studio, producers and the music industry,” the company tells Variety.
A pioneer of the field, Patsavas launched Chop Shop Music Group in 1998 and went on to supervise over 100 projects and produce dozens of soundtracks for such films as the “Twilight” franchise, “The Perks of Being A Wallflower” and “The Hunger Games: Catching Fire,” and TV series “The Oc,” “Mad Men,” “Gossip Girl,” “Scandal,” “Riverdale,” “Supernatural” and “Grey’s Anatomy,” among many others.
Chop Shop has aligned itself with different labels and music groups over the years, including Atlantic Records for much of the 2000s and Universal Music Group from 2013 on. Of Chop Shop’s four longtime senior staff members,...
A pioneer of the field, Patsavas launched Chop Shop Music Group in 1998 and went on to supervise over 100 projects and produce dozens of soundtracks for such films as the “Twilight” franchise, “The Perks of Being A Wallflower” and “The Hunger Games: Catching Fire,” and TV series “The Oc,” “Mad Men,” “Gossip Girl,” “Scandal,” “Riverdale,” “Supernatural” and “Grey’s Anatomy,” among many others.
Chop Shop has aligned itself with different labels and music groups over the years, including Atlantic Records for much of the 2000s and Universal Music Group from 2013 on. Of Chop Shop’s four longtime senior staff members,...
- 5/26/2020
- by Shirley Halperin
- Variety Film + TV
Few scripted series have had a bigger impact on how music is used on television — and on how the music business uses TV to help break new artists — than The O.C. Throughout the teen drama’s four-year run from 2003 to 2007, its indie rock-crazy creator, Josh Schwartz, and his music supervisor, Alexandra Patsavas, filled each episode with the hottest indie acts of the day. Young, lesser-known bands like the Killers and Death Cab for Cutie got a mainstream showcase that didn’t diminish their cool, and soon record labels were...
- 10/23/2019
- by Alan Sepinwall
- Rollingstone.com
Based on the 2005 John Green novel of the same name, “Looking For Alaska” was made to be adapted for television by Josh Schwartz. In fact, in 2005, it was set to be adapted by him as a feature film; but even after writing a screenplay that Green reportedly loved, the movie remained in development hell, with constant delays for years. Then in May 2018, it was announced that Schwartz would be writing the eight-episode limited series for Hulu, executive producing alongside his Fake Empire partner and longtime collaborator Stephanie Savage.
Now it’s finally here, and despite the story originally being written by someone else entirely, “Looking For Alaska” fits Schwarz and Savage like a glove. This is far from the duo’s first adaptation—“Gossip Girl,” “The Carrie Diaries,” and Marvel’s “Runaways” all exist—but it is impressive just how much the source material and the finished product makes it feel like their own creation.
Now it’s finally here, and despite the story originally being written by someone else entirely, “Looking For Alaska” fits Schwarz and Savage like a glove. This is far from the duo’s first adaptation—“Gossip Girl,” “The Carrie Diaries,” and Marvel’s “Runaways” all exist—but it is impressive just how much the source material and the finished product makes it feel like their own creation.
- 10/18/2019
- by LaToya Ferguson
- Indiewire
The film, television and gaming music communities got the confab they’ve long deserved Tuesday as Variety hosted the inaugural Music for Screens Summit. Guests including Annie Lennox (pictured above with H. Scott Salinas), Trent Reznor and Atticus Ross, Linda Perry, Terence Blanchard and Ramin Djawadi came to Neuehouse in Hollywood for a day of interviews and panels celebrating the art, craft and business of composing and music supervision, capped by a preview screening of Queen biopic “Bohemian Rhapsody.”
The day kicked off with a panel sponsored by Pepsi on the use of music in commercial advertising and featuring five unique case studies. Linda Perry, representing her company We Are Hear, detailed how a Quickbooks spot featuring singer Willa Amai’s cover of Daft Punk’s “Harder, Better, Faster, Stronger” created an instant audience for the teen newcomer. Others represented on the panel included Portugal. The Man manager Rich Holtzman...
The day kicked off with a panel sponsored by Pepsi on the use of music in commercial advertising and featuring five unique case studies. Linda Perry, representing her company We Are Hear, detailed how a Quickbooks spot featuring singer Willa Amai’s cover of Daft Punk’s “Harder, Better, Faster, Stronger” created an instant audience for the teen newcomer. Others represented on the panel included Portugal. The Man manager Rich Holtzman...
- 10/31/2018
- by Chris Willman
- Variety Film + TV
Grey's Anatomy, the indefatigable medical melodrama that airs on ABC, is in the midst of its 14th (!) season, which will include its 300th episode. To celebrate that milestone, ABC is launching Post-Op, a companion series that will recap some of the memorable moments from the show's run.
Post-Op, which will run for six episodes, is hosted by Gordon James, an actor known for his recurring role as Nurse Gregory on Grey's. In each installment, James will sit down with an important figure from the show's production in order to talk about its long history. Up first is music supervisor Alexandra Patsavas, whose song choices have produced to a Grey's Anatomy soundtrack that spans four volumes.
Click here to watch the first episode of Post-Op.
Visit Tubefilter for more great stories.
Post-Op, which will run for six episodes, is hosted by Gordon James, an actor known for his recurring role as Nurse Gregory on Grey's. In each installment, James will sit down with an important figure from the show's production in order to talk about its long history. Up first is music supervisor Alexandra Patsavas, whose song choices have produced to a Grey's Anatomy soundtrack that spans four volumes.
Click here to watch the first episode of Post-Op.
Visit Tubefilter for more great stories.
- 10/5/2017
- by Sam Gutelle
- Tubefilter.com
“Welcome to ‘The O.C…. panel,” moderator Alan Sepinwall said to a crowd gathered in the State Theater Sunday afternoon. “I won’t say the last word of Luke’s line.”
And with those words and the telling one withheld, the final event of Atx Season 5 began. Though not as prestigious as “The West Wing” — which also held a celebrated reunion at the Austin TV festival — nor as prominently placed as the “Closing Night” honoree (“Ugly Betty’s” elaborate celebration), “The O.C.” Creatives Panel and Script Reading was one of the most exciting, fun and relevant — yes, relevant — activities of the four-day festival, if not the year so far.
With creator Josh Schwartz, writers Stephanie Savage and Leila Gerstein, and music supervisor Alexandra Patsavas, the Q&A portion was fast and focused. Led by Sepinwall, the panelists were peppered with quick questions they answered with efficiency and insight.
“The model of soaps at the time was that they were driven by female characters. And you’ve got one driven by two brothers and the dad.”
“It was unusual to do a show like that,” Schwartz said. “But luckily I didn’t know that. That was my way into doing a nighttime soap: having a neurotic Jewish guy to comment on [what happens].”
“How comfortable was Fox with the ‘neurotic Jewishness’ of it all?”
“I would say, ‘medium comfortable,'” Savage said. “Seth Cohen was Josh’s way into the show, but because it was unique it was challenging to the network.”
“Why did you decide to kill Marissa?”
“It’s complicated,” Schwartz said. “For reasons both creative and cynical — kind of where we were with the network. We really wrestled with it.”
California, here we come. #TheOC reunion at #atxtvs5 @atxfestival
A photo posted by IndieWire (@indiewire) on Jun 12, 2016 at 3:31pm Pdt
More great pieces of trivia surfaced over the quick, 30-minute Q&A, as well:
Casting Marissa Cooper came down to Mischa Barton and Olivia Wilde, the former of which obviously landed the part, but the latter appeared in Season 2 as a love interest for Marissa. Schwartz said it came down to the fact Marissa needed to be saved, and “Olivia needs no saving.” Arcade Fire was the one band they couldn’t get for the show. “That’s all I’m going to say,” said a clearly disappointed Schwartz. Chrismakkuh, the combination holiday of Hanukkah and Christmas created by Seth Cohen (Adam Brody) on the show, was not, in fact, a tradition celebrated by Schwartz prior to its implementation on “The O.C.” That was something the writers came up with, as a group, in the room. “I did own that sweater that Seth wears, though,” Schwartz said. Schwartz also commented on how the first season felt special, as well as what may have gone wrong later on. “Part of the fun of the first season was how much story we were going through,” Schwartz said when asked about lessons he learned from the series. “If you have characters that people really love, though, you should keep them around.” Other current celebrities who got their start on “The O.C.” include Shailene Woodley as Marissa’s younger, who was later recast (“I wonder what happened to her.”), and Chris Pratt, who the writers loved working with in order to bring some comedy back to the show in Season 4.
But after hearing all these facts, reminiscing about the past and then experiencing the script read live by new cast members, only then did “The O.C.” seem not only like a nostalgia-infused favorite from yesteryear, but a relevant piece of the modern TV landscape.
For starters, the only cast member from the series to reprise his role on Sunday was Tate Donovan as Jimmy Cooper, Marissa’s father (who’s lovable as hell but horrifically bad with money). Otherwise, the parts were played by fresh faces and, more importantly, the roles were gender-swapped. Mae Whitman (“Parenthood”) was Seth. Matt Lauria (“Friday Night Lights,” “Kingdom”) was Summer, Arielle Kebbel (“Ballers”) was Ryan Atwood, while Patrick J. Adams (“Suits”) nabbed the challenging role of Marissa Cooper.
While that may simply seem like either a fun and/or necessary thing to do for a panel being held well after most of the fest’s talent had left town (but still in need of somewhat famous faces), what really made the reading pop went back to something Sepinwall noted during the Q&A. Soaps, an inherently trashy endeavor pre-“O.C.,” even in primetime efforts, were often targeted at female audiences. While perhaps not the direct connotation, the focus nevertheless established a connection between sleazy, unrealistic and overblown scenarios being marketed to a female audience, while more of television’s “prestige” dramas were a) of a higher regard, and b) sold to men (just like most entertainment).
“The O.C.” did the opposite. The decision to put men front and center — which, as noted, represented a risk — was a feminist choice. Schwartz was, unknowingly or not, creating a show for everyone with respect for its characters, stories and audience. So, by allowing women to play male characters (and vice versa) on Sunday, the series pointed to its past while noting the crucial push for progress right now; as though the group was saying, “Look at what happens when you don’t talk down to your audience, and you take a risk.”
But that’s not all: Schwartz also noted during the panel how they wanted to make a series where the adult storylines were equally enticing to the kids’.
“We really wanted to set the tone that this could be as much for adults as it is for kids,” he said. “As the kids got older, it’s harder to keep the parents involved — there’s a reason with ‘90210’ they spent four years in high school and then went to college and it was exactly the same.”
It’s worth noting Schwartz has said before that he’s never seen “90210.” At the panel, he admitted maybe an episode or a few scenes slipped in somewhere, but he remains largely uninfluenced by the popular (if disrespected) soap when it came to writing “The O.C.” And his show embraced many of the genre’s soapy stories, but they still found a way to make them legitimate; legitimately juicy, yes, but also legitimately good.
There shouldn’t necessarily be any embarrassment connecting the two, but what “The O.C.” tried to accomplish was far more ambitious than anything that’s come before and, arguably, what’s happened since: A series bucking the accepted standards, practices and audience of its genre that spoke to an older crowd as much as its younger fans, “The O.C.” is a relevant piece of TV history — whether you welcome it or not.
All four seasons of “The O.C.” are available to stream on The CW Seed.
Stay up to date with breaking TV news and all your favorite shows: Sign up for the Indiewire TV newsletter today!
Related stories'The West Wing' Reunion: Aaron Sorkin and Cast Remember How the Internet Saved the Series'Friday Night Lights' Reunion: Connie Britton Thrills Fans & More Cast Highlights From Atx TV Fest'Fargo' Creator Noah Hawley Explains the UFOs in Season 2 (Thanks to Beau Willimon)...
And with those words and the telling one withheld, the final event of Atx Season 5 began. Though not as prestigious as “The West Wing” — which also held a celebrated reunion at the Austin TV festival — nor as prominently placed as the “Closing Night” honoree (“Ugly Betty’s” elaborate celebration), “The O.C.” Creatives Panel and Script Reading was one of the most exciting, fun and relevant — yes, relevant — activities of the four-day festival, if not the year so far.
With creator Josh Schwartz, writers Stephanie Savage and Leila Gerstein, and music supervisor Alexandra Patsavas, the Q&A portion was fast and focused. Led by Sepinwall, the panelists were peppered with quick questions they answered with efficiency and insight.
“The model of soaps at the time was that they were driven by female characters. And you’ve got one driven by two brothers and the dad.”
“It was unusual to do a show like that,” Schwartz said. “But luckily I didn’t know that. That was my way into doing a nighttime soap: having a neurotic Jewish guy to comment on [what happens].”
“How comfortable was Fox with the ‘neurotic Jewishness’ of it all?”
“I would say, ‘medium comfortable,'” Savage said. “Seth Cohen was Josh’s way into the show, but because it was unique it was challenging to the network.”
“Why did you decide to kill Marissa?”
“It’s complicated,” Schwartz said. “For reasons both creative and cynical — kind of where we were with the network. We really wrestled with it.”
California, here we come. #TheOC reunion at #atxtvs5 @atxfestival
A photo posted by IndieWire (@indiewire) on Jun 12, 2016 at 3:31pm Pdt
More great pieces of trivia surfaced over the quick, 30-minute Q&A, as well:
Casting Marissa Cooper came down to Mischa Barton and Olivia Wilde, the former of which obviously landed the part, but the latter appeared in Season 2 as a love interest for Marissa. Schwartz said it came down to the fact Marissa needed to be saved, and “Olivia needs no saving.” Arcade Fire was the one band they couldn’t get for the show. “That’s all I’m going to say,” said a clearly disappointed Schwartz. Chrismakkuh, the combination holiday of Hanukkah and Christmas created by Seth Cohen (Adam Brody) on the show, was not, in fact, a tradition celebrated by Schwartz prior to its implementation on “The O.C.” That was something the writers came up with, as a group, in the room. “I did own that sweater that Seth wears, though,” Schwartz said. Schwartz also commented on how the first season felt special, as well as what may have gone wrong later on. “Part of the fun of the first season was how much story we were going through,” Schwartz said when asked about lessons he learned from the series. “If you have characters that people really love, though, you should keep them around.” Other current celebrities who got their start on “The O.C.” include Shailene Woodley as Marissa’s younger, who was later recast (“I wonder what happened to her.”), and Chris Pratt, who the writers loved working with in order to bring some comedy back to the show in Season 4.
But after hearing all these facts, reminiscing about the past and then experiencing the script read live by new cast members, only then did “The O.C.” seem not only like a nostalgia-infused favorite from yesteryear, but a relevant piece of the modern TV landscape.
For starters, the only cast member from the series to reprise his role on Sunday was Tate Donovan as Jimmy Cooper, Marissa’s father (who’s lovable as hell but horrifically bad with money). Otherwise, the parts were played by fresh faces and, more importantly, the roles were gender-swapped. Mae Whitman (“Parenthood”) was Seth. Matt Lauria (“Friday Night Lights,” “Kingdom”) was Summer, Arielle Kebbel (“Ballers”) was Ryan Atwood, while Patrick J. Adams (“Suits”) nabbed the challenging role of Marissa Cooper.
While that may simply seem like either a fun and/or necessary thing to do for a panel being held well after most of the fest’s talent had left town (but still in need of somewhat famous faces), what really made the reading pop went back to something Sepinwall noted during the Q&A. Soaps, an inherently trashy endeavor pre-“O.C.,” even in primetime efforts, were often targeted at female audiences. While perhaps not the direct connotation, the focus nevertheless established a connection between sleazy, unrealistic and overblown scenarios being marketed to a female audience, while more of television’s “prestige” dramas were a) of a higher regard, and b) sold to men (just like most entertainment).
“The O.C.” did the opposite. The decision to put men front and center — which, as noted, represented a risk — was a feminist choice. Schwartz was, unknowingly or not, creating a show for everyone with respect for its characters, stories and audience. So, by allowing women to play male characters (and vice versa) on Sunday, the series pointed to its past while noting the crucial push for progress right now; as though the group was saying, “Look at what happens when you don’t talk down to your audience, and you take a risk.”
But that’s not all: Schwartz also noted during the panel how they wanted to make a series where the adult storylines were equally enticing to the kids’.
“We really wanted to set the tone that this could be as much for adults as it is for kids,” he said. “As the kids got older, it’s harder to keep the parents involved — there’s a reason with ‘90210’ they spent four years in high school and then went to college and it was exactly the same.”
It’s worth noting Schwartz has said before that he’s never seen “90210.” At the panel, he admitted maybe an episode or a few scenes slipped in somewhere, but he remains largely uninfluenced by the popular (if disrespected) soap when it came to writing “The O.C.” And his show embraced many of the genre’s soapy stories, but they still found a way to make them legitimate; legitimately juicy, yes, but also legitimately good.
There shouldn’t necessarily be any embarrassment connecting the two, but what “The O.C.” tried to accomplish was far more ambitious than anything that’s come before and, arguably, what’s happened since: A series bucking the accepted standards, practices and audience of its genre that spoke to an older crowd as much as its younger fans, “The O.C.” is a relevant piece of TV history — whether you welcome it or not.
All four seasons of “The O.C.” are available to stream on The CW Seed.
Stay up to date with breaking TV news and all your favorite shows: Sign up for the Indiewire TV newsletter today!
Related stories'The West Wing' Reunion: Aaron Sorkin and Cast Remember How the Internet Saved the Series'Friday Night Lights' Reunion: Connie Britton Thrills Fans & More Cast Highlights From Atx TV Fest'Fargo' Creator Noah Hawley Explains the UFOs in Season 2 (Thanks to Beau Willimon)...
- 6/13/2016
- by Ben Travers
- Indiewire
Last Thursday, Shonda Rhimes paid tribute to Prince, one of her all-time heroes, by including one of his songs on back-to-back episodes of Grey's Anatomy and Scandal. "For me, this iconic spirit was so special, and I was truly shocked at how viscerally and emotional I felt when he died," Rhimes tells Rolling Stone. "I literally was grieving; it felt really, really personal. Yes, I'd met him, gone to concerts, seen him play at the White House, but this was really intense for me, like I'd spent too many hours...
- 5/10/2016
- Rollingstone.com
Houston, we may have a problem.
The Mercury wives and their families relocate to Texas in tonight’s episode of The Astronaut Wives Club (ABC, 8/7c), a move that coincides with two potentially catastrophic events: the Cuban Missile Crisis and the arrival of the wives of the Gemini astronauts.
Betty? Jo? Put another casserole in the oven, because it’s time to circle the (station) wagons.
Video Exclusive Mistresses Sneak Peek: Karen’s Steamy Three-Way Daydream!
“Once the Mercury wives have figured out some of their s—t, they’ve worked out their stuff with each other, here come the Gemini wives,...
The Mercury wives and their families relocate to Texas in tonight’s episode of The Astronaut Wives Club (ABC, 8/7c), a move that coincides with two potentially catastrophic events: the Cuban Missile Crisis and the arrival of the wives of the Gemini astronauts.
Betty? Jo? Put another casserole in the oven, because it’s time to circle the (station) wagons.
Video Exclusive Mistresses Sneak Peek: Karen’s Steamy Three-Way Daydream!
“Once the Mercury wives have figured out some of their s—t, they’ve worked out their stuff with each other, here come the Gemini wives,...
- 7/9/2015
- TVLine.com
The Hollywood Music in Media Awards (HMMAs) have announced the nominees in the Visual Media categories.
Showcasing the best and brightest in musical creation for visual media, the 5th Annual Hollywood Music in Media Awards (HMMAs) will be held at The Fonda Theater in Hollywood on Tuesday, November 4, 2014.
The 2014 HMMAs welcome back celebrity hosts including Oscar nominated actor Eric Roberts, former Matchbox 20 member Adam Gaynor, acclaimed Director/Writer/Producer Andy Fickman and Earth, Wind & Fire’s Verdine White. A portion of the proceeds will benefit Education Through Music – Los Angeles (Etmla). Honorees, performers, and special guests to be announced.
The field of entrants were narrowed down to final nominees by the Hmma advisory board and selection committee. The winners will be voted upon by music-media industry professionals comprised of select members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations,...
Showcasing the best and brightest in musical creation for visual media, the 5th Annual Hollywood Music in Media Awards (HMMAs) will be held at The Fonda Theater in Hollywood on Tuesday, November 4, 2014.
The 2014 HMMAs welcome back celebrity hosts including Oscar nominated actor Eric Roberts, former Matchbox 20 member Adam Gaynor, acclaimed Director/Writer/Producer Andy Fickman and Earth, Wind & Fire’s Verdine White. A portion of the proceeds will benefit Education Through Music – Los Angeles (Etmla). Honorees, performers, and special guests to be announced.
The field of entrants were narrowed down to final nominees by the Hmma advisory board and selection committee. The winners will be voted upon by music-media industry professionals comprised of select members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations,...
- 10/9/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Somehow over the years the Hollywood Music in Media Awards have escaped me. The event's fifth annual slate of nominees were announced today, and it's a pretty standard assortment of names we've been considering at the forefront of this year's Best Original Score Oscar race, from Trent Reznor and Atticus Ross to Hans Zimmer to the ubiquitous Alexandre Desplat. The nominees were chosen by an "Hmma advisory board and selection committee," and winners will be voted upon by "music-media industry professionals comprised of select members of the Society of Composers and Lyricists, The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations, film music journalists and music executives," according to the press release. You might raise your eyebrow at something like "Interstellar" being on here when it hasn't been screened for these purposes (or much at all, for that matter). The nominations are also based on hearing music via...
- 10/8/2014
- by Kristopher Tapley
- Hitfix
MTV has picked up the distribution rights to No Cameras Allowed, a documentary directed by and starring James Marcus Haney, who turned a penchant for crashing the backstage of rock concerts into a budding career as a rock videographer. Lis Rowinski, who runs motion picture for Fake Empire, the production entity run by Josh Schwartz and Stephanie Savage, is producing the doc along with Matt Barber and Michelle Knudsen. Photos Capitol Music Group Celebrates Banner Year Schwartz and Savage are exec producing along with Haney, frequent Fake Empire music collaborator Alexandra Patsavas, Robyn Demarco, Joshua Vodnoy, Michael Raimondi, Mason Novick
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read more...
- 7/29/2014
- by Borys Kit
- The Hollywood Reporter - Movie News
If you enjoyed how last Thursday's (March 6) episode of "Grey's Anatomy" exclusively used '80s cover songs for its soundtrack, then you're in luck -- the ABC medical drama will feature only modern covers of popular '80s songs for the remainder of Season 10.
Showrunner Shonda Rhimes came up with the idea, and it's already been in place, as the '80s Covers project started with the Feb. 27 episode which featured Sleeping at Last's cover of Bonnie Tyler's "Total Eclipse of the Heart." Rhimes and music supervisor Alex Patsavas announced that it would continue on for the rest of the season.
"Shonda had this idea back in the fall and we started to talk about songs she knew would make sense with the story," Patsavas tells THR. "We started with a couple of songs that she was interested in seeing if there were great modern interpretations for but at...
Showrunner Shonda Rhimes came up with the idea, and it's already been in place, as the '80s Covers project started with the Feb. 27 episode which featured Sleeping at Last's cover of Bonnie Tyler's "Total Eclipse of the Heart." Rhimes and music supervisor Alex Patsavas announced that it would continue on for the rest of the season.
"Shonda had this idea back in the fall and we started to talk about songs she knew would make sense with the story," Patsavas tells THR. "We started with a couple of songs that she was interested in seeing if there were great modern interpretations for but at...
- 3/13/2014
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Somewhere along the way someone decided that tween blockbusters make excellent platforms for indie bands.
This weekend’s release of The Hunger Games: Catching Fire is certain to captivate younger audiences, but it’s tomorrow’s release of the film soundtrack that’s got the attention of many of the music industry’s taste-makers.
While the trend of using a well-crafted indie soundtrack to sell to broaden a film’s appeal can probably be traced back to the 80s, the current boom can best be linked to the Twilight franchise. The five soundtracks that encompass that franchise – all put together by Alexandra Patsavas – morphed over the course of four years from a goth-y, popular mood music compilation to an all-out indie showcase.
This weekend’s release of The Hunger Games: Catching Fire is certain to captivate younger audiences, but it’s tomorrow’s release of the film soundtrack that’s got the attention of many of the music industry’s taste-makers.
While the trend of using a well-crafted indie soundtrack to sell to broaden a film’s appeal can probably be traced back to the 80s, the current boom can best be linked to the Twilight franchise. The five soundtracks that encompass that franchise – all put together by Alexandra Patsavas – morphed over the course of four years from a goth-y, popular mood music compilation to an all-out indie showcase.
- 11/18/2013
- by Shane McNeil
- Cineplex
A soundtrack album collecting classic 1970s soul music as featured in the hit ABC series Scandal will be released Sept. 3, via Stax Records, ABC announced today. Scandal, which chronicles the deception, turmoil and mystery within the American political system, wasn’t only inspired by power and politics, according to creator and executive producer Shonda Rhimes in her liner notes for the album. She and music supervisor Alex Patsavas chose certain songs, and a certain style of song, to reflect the fierce determination of the series’ characters, such as Olivia Pope (Kerry Washington), and its storyline. “During those four days [of [...]
The post “Songs from Scandal” soundtrack features soul music classics from “Scandal” Seasons 1 and 2 appeared first on Channel Guide Magazine.
The post “Songs from Scandal” soundtrack features soul music classics from “Scandal” Seasons 1 and 2 appeared first on Channel Guide Magazine.
- 8/13/2013
- by Jeff Pfeiffer
- ChannelGuideMag
Music supervisor Alexandra Patsavas, whose credits include Scandal, Grey's Anatomy, Carrie Diaries, and the upcoming film The Hunger Games: Catching Fire, will participate in a Keynote Q&A at the Billboard Hollywood Reporter Film and TV Music Conference. Patsavas will speak on Oct. 30 at the W Hotel in Hollywood. In her 15-year career, Patsavas has raised the bar on the quality of music selected for television series and simultaneously championed the work of independent artists in TV and feature films. Through her own Chop Shop Music Supervision company, she has been responsible for the music on shows as varied
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- 8/7/2013
- by Phil Gallo
- The Hollywood Reporter - Movie News
Not too many years ago, buying each subsequent edition of The O.C.’s soundtrack — or “mixes,” as the six compilations were cleverly dubbed — was as much of a badge of fan-hood as tuning in to watch the show every week. Chalk that up to the curatorial skills of the Fox soap’s musical supervisor, Alexandra Patsavas, who put together the track list for each album as carefully as Seth Cohen might devise a mixtape for Summer, with tunes by obscure indie bands juxtaposed next to those by better-known (but still oh-so-cool) genre-mates. Not surprisingly, the mixes sold like hotcakes. But how do they hold up? As part of our week-long celebration of The O.C.'s ten-year anniversary, we cranked up all six albums — on compact disc, no less — and ranked them by how well they've aged. You may disagree! Or maybe you'll agree so hard that we just blew...
- 8/6/2013
- by Lindsey Weber
- Vulture
It has been a decade since Ryan Atwood (Benjamin McKenzie) had his first entree into life in "The O.C.," bringing fans of teen soap along for a look at life inside the mansions of Newport Beach. The Fox drama, which premiered on August 5, 2003, was filled with envelope-pushing sexual encounters, Juicy Couture jumpsuits, Death Cab for Cutie, trips to T.J. and much, much more.
Josh Schwartz was a day shy of 27 when "The O.C." first hit the airwaves, which made him the youngest TV creator ever and probably, one of the only ones who would admit to penning a highly-acclaimed pilot in his boxer shorts.
From the real story behind Mischa Barton's departure to the Cohens' original name, and the missed coupling opportunities to the star who didn't even make it onto "The O.C.'s" first poster, read on to see what Schwartz revealed to The Huffington Post while...
Josh Schwartz was a day shy of 27 when "The O.C." first hit the airwaves, which made him the youngest TV creator ever and probably, one of the only ones who would admit to penning a highly-acclaimed pilot in his boxer shorts.
From the real story behind Mischa Barton's departure to the Cohens' original name, and the missed coupling opportunities to the star who didn't even make it onto "The O.C.'s" first poster, read on to see what Schwartz revealed to The Huffington Post while...
- 8/5/2013
- by Jaimie Etkin
- Huffington Post
The final days of the 2002-03 TV season featured the series finales of "Dawson's Creek" and "Buffy the Vampire Slayer," two of the biggest and most loved teen dramas of the late '90s and early aughts.
"Gilmore Girls" and "Smallville" were up and running for The WB, and "Everwood" had wrapped its first season, but it looked as though teen dramas -- which had helped fuel the rise of Fox a decade or so earlier and were keeping The WB alive at the time -- were on the wane.
Then on Aug. 5, 2003 -- 10 years ago Monday -- Fox unveiled "The O.C." A phenomenon was born almost from the first notes of Phantom Planet's "California," and the show would, in terms of ratings numbers, become the biggest teen drama since the heyday of "Beverly Hills, 90210."
Pics: Teen drama stars: Where are they now?
Four years later it was gone,...
"Gilmore Girls" and "Smallville" were up and running for The WB, and "Everwood" had wrapped its first season, but it looked as though teen dramas -- which had helped fuel the rise of Fox a decade or so earlier and were keeping The WB alive at the time -- were on the wane.
Then on Aug. 5, 2003 -- 10 years ago Monday -- Fox unveiled "The O.C." A phenomenon was born almost from the first notes of Phantom Planet's "California," and the show would, in terms of ratings numbers, become the biggest teen drama since the heyday of "Beverly Hills, 90210."
Pics: Teen drama stars: Where are they now?
Four years later it was gone,...
- 8/5/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Warning: Scandal fans, do not read the following post-mortem unless you want to be super-spoiled on what went down in the the show’s midseason finale. Proceed with caution. Spoilers Ahead!
A reveal at the end of last week’s episode of Scandal left viewers’ jaws on the floor and Huck fans crying, “Say it ain’t so!” Well, luckily, this week’s midseason finale revealed the truth: Huck (Guillermo Diaz) was anything but the guilty man he was made out to be.
It turned out that the former CIA op had actually been set up by Becky, the girl...
A reveal at the end of last week’s episode of Scandal left viewers’ jaws on the floor and Huck fans crying, “Say it ain’t so!” Well, luckily, this week’s midseason finale revealed the truth: Huck (Guillermo Diaz) was anything but the guilty man he was made out to be.
It turned out that the former CIA op had actually been set up by Becky, the girl...
- 12/14/2012
- by Sandra Gonzalez
- EW - Inside TV
At the end of last week’s Scandal, with President Fitzgerald (Tony Goldwyn) still fighting for his life, Vice President Sally Langston (Kate Burton) snaked her way through a number of loopholes to become the first female Commander-in-chief. Oh, and then there was that little issue of Huck Possibly Being The Person Who Shot The President.
Yes, Scandal is heating up and going into tonight’s midseason finale, the show will reach full boil, says Dan Bucatinsky, who plays James, a political journalist and longtime partner to the president’s chief of staff, Cyrus (Jeff Perry). “What happens to Cyrus...
Yes, Scandal is heating up and going into tonight’s midseason finale, the show will reach full boil, says Dan Bucatinsky, who plays James, a political journalist and longtime partner to the president’s chief of staff, Cyrus (Jeff Perry). “What happens to Cyrus...
- 12/13/2012
- by Sandra Gonzalez
- EW - Inside TV
As the music supervisor for shows like Grey’s Anatomy and Private Practice, music supervisor Alexandra Patsavas has long been TV’s musical rainmaker. Pinpointing emergent, primetime-ready tunes for those shows is one challenge, but for her work on Scandal, another drama from Grey’s creator Shonda Rhimes, Patsavas faced another one — breathing new life into old-school R&B classics. Below, Patsavas discusses how she takes a well-worn track like Kool & the Gang’s “Jungle Boogie” and gives it new meaning, plus her one major exception in Scandal’s soulful set list.
For more stories behind this year’s top TV and movie moments,...
For more stories behind this year’s top TV and movie moments,...
- 12/13/2012
- by Lanford Beard
- EW - Inside TV
Dear Twilight fans,
Well, this is it, guys. Twilight as we know it is ending. On Friday, the final movie will be out, the cast will be done promoting the films, and we’ll all be crying into our popcorn buckets wondering where the last five years have gone. I thought I was totally coping with all of this, but then I started listening to “Possibilities” by Lykke Li and my body began to tremble. All the anticipation, the excitement, the endless conversation and speculation and frantic, passionate Love…where does it go now that Twilight is over?! I don’t know the answer to this yet, so I’m detailing the 10 Things I Will Miss Most About Twilight in this here post as I try to process all these goddamn feels. And oh, how many feels there are!
Twilight is nothing if not a love story — not just between...
Well, this is it, guys. Twilight as we know it is ending. On Friday, the final movie will be out, the cast will be done promoting the films, and we’ll all be crying into our popcorn buckets wondering where the last five years have gone. I thought I was totally coping with all of this, but then I started listening to “Possibilities” by Lykke Li and my body began to tremble. All the anticipation, the excitement, the endless conversation and speculation and frantic, passionate Love…where does it go now that Twilight is over?! I don’t know the answer to this yet, so I’m detailing the 10 Things I Will Miss Most About Twilight in this here post as I try to process all these goddamn feels. And oh, how many feels there are!
Twilight is nothing if not a love story — not just between...
- 11/14/2012
- by Kate Spencer
- TheFabLife - Movies
Elle Fanning’s Shoes, Fivel Stewart’s Shroud Break Our Hearts At The Breaking Dawn – Part 2 Premiere
If the end of the Twilight franchise doesn’t bring tears to your eyes, might we suggest checking out Elle Fanning‘s platform sandals at tonight’s Breaking Dawn – Part 2 premiere red carpet? What. Are. Those. Monstrosities. Elle seems to be totally thrilled with her kicks, but they scream Spice Girls knock-offs to us. Fivel Stewart also went bold tonight, pairing a dark lip with a wispy First Communion lampshade dress of some kind. If Fivel wanted us to speculate whether she’s pregnant, mission accomplished! We’re assuming it’s just the dress though!
Actress Judi Shekoni didn’t far much better with her odd bi-level frock, and Alexandra Patsavas opted for a look that was more Hey Arnold! than high fashion. Obviously there were plenty of stunners on tonight’s black carpet, but unfortunately there were just as many near misses. If only Nikki Reed‘s gown didn...
Actress Judi Shekoni didn’t far much better with her odd bi-level frock, and Alexandra Patsavas opted for a look that was more Hey Arnold! than high fashion. Obviously there were plenty of stunners on tonight’s black carpet, but unfortunately there were just as many near misses. If only Nikki Reed‘s gown didn...
- 11/13/2012
- by Halle Kiefer
- TheFabLife - Movies
Can't wait until Nov. 13 for a taste of the final soundtrack of "The Twilight Saga" series? Give the new songs from Feist, Green Day, St. Vincent and more a spin before the album (and the film) drops. "The Twilight Saga: Breaking Dawn - Part 2" is skedded to head into theaters on Nov. 16, with the soundtrack due three days before. The album is a compilation of songs from music supervisor Alexandra Patsavas' final job on the serious, with other contributions of new tracks from Ellie Goulding, Passion Pit, and a duet from "Twilight" actress Nikki Reed and her husband,...
- 10/29/2012
- by Katie Hasty
- Hitfix
Since 2003, Josh Schwartz has helped turn, among others, Blake Lively, Leighton Meester, Mischa Barton, Rachel Bilson, Adam Brody, Penn Badgley, Zachary Levi and Chace Crawford into television stars. Now 36, the writer-producer behind "The O.C.," "Gossip Girl" and "Chuck" -- as well as, perhaps, the mid-decade success of Death Cab For Cutie -- has taken his talents to the multiplex for the teen comedy "Fun Size."
Out on Oct. 26, "Fun Size" is a one-crazy-night movie about what happens when a high school senior named Wren (Nickelodeon star Victoria Justice) loses her kid brother on Halloween night. Aided by a snappy best friend (Jane Levy, doing her best Summer Roberts impression) and a love-lorn nerd (Thomas Mann), Wren must find her brother before her mother (Chelsea Handler) gets home for the night. "Fun Size" is a bit like "Ferris Bueller's Day Off" mixed with the Halloween party from "Mean Girls," but scored...
Out on Oct. 26, "Fun Size" is a one-crazy-night movie about what happens when a high school senior named Wren (Nickelodeon star Victoria Justice) loses her kid brother on Halloween night. Aided by a snappy best friend (Jane Levy, doing her best Summer Roberts impression) and a love-lorn nerd (Thomas Mann), Wren must find her brother before her mother (Chelsea Handler) gets home for the night. "Fun Size" is a bit like "Ferris Bueller's Day Off" mixed with the Halloween party from "Mean Girls," but scored...
- 10/23/2012
- by Christopher Rosen
- Huffington Post
I was excited to write up my reactions to the just released Breaking Dawn Part 2 soundtrack listing, because I truly love the previous soundtracks from the franchise and think Music Supervisor Alex Patsavas always does a killer job cultivating tracks that suit each film’s mood. However, I know that my deep entrenchment in the Twilight fandom might make my opinion a little biased. Yes, I drink out of a giant Twilight cup and can identify every pair of Kristen Stewart‘s sneakers out of a shoe lineup, so my thoughts are certainly tainted by years of Twi-obsession. So take these silly, quick comments with a couple grains of salt, okay? They’re my unedited, unresearched, immediate reactions. Besides, we all know this soundtrack could be made up solely of songs by The Wiggles and I’d still love it.
1. Where I Come From — Passion Pit
I thought their last album was a dud,...
1. Where I Come From — Passion Pit
I thought their last album was a dud,...
- 10/4/2012
- by Kate Spencer
- TheFabLife - Movies
Remember what I said about Alexandra Patsavas making the soundtrack to "Perks of Being a Wallflower" a love letter to good taste? The music supervisor has crafted an album of exclusive material for "The Twilight Saga: Breaking Dawn - Part 2" as a love letter between two vampires. And who better than strong solo ladies like Ellie Goulding, Feist, St. Vincent and Christina Perri, and commercial knock-outs Green Day? Yeah. Because Green Day hasn't been too busy otherwise lately. The tracklist (via Yahoo!) also has songs form Passion Pit, film composer Carter Burwell and some fun lesser-knowns like Pop Etc and...
- 10/4/2012
- Hitfix
Chicago – Stephen Chbosky’s “The Perks of Being a Wallflower,” based on his own book, is one of the pleasant surprises of 2012, a smart, clever, moving teen drama that brings to mind the work of John Hughes and Cameron Crowe. We’ll get into that more at the end of the week when our rave review posts but Mr. Chbosky was kind enough to sit down with us recently and talk about his debut film, one that is sure to be adored by the many fans who fell in love with his book.
Hollywoodchicago.Com: How personal is this? How much of it is Your story?
Stephen Chbosky: It’s really personal. It is semi-autobiographical. There is invention. Not everything that happens to Charlie happened to me but his response to the world is very much my response. It’s personal to me.
Hollywoodchicago.Com: How different is the film from the book?...
Hollywoodchicago.Com: How personal is this? How much of it is Your story?
Stephen Chbosky: It’s really personal. It is semi-autobiographical. There is invention. Not everything that happens to Charlie happened to me but his response to the world is very much my response. It’s personal to me.
Hollywoodchicago.Com: How different is the film from the book?...
- 9/24/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Glamour caught up with Twilight Saga soundtrack supervisor, Alexandra Patsavas, at the recent SXSW Music and Film Festival in Austin, where they had the chance to find out which bands Alexandra thinks are the hottest right now.… Read the rest
Click on the Title for the Full Article...
Click on the Title for the Full Article...
- 3/29/2012
- by Evie
- twilightersanonymous.com
This Sunday evening at UCLA’s Royce Hall, the cast of ABC’s Grey’s Anatomy will gather to perform “The Songs Beneath the Show,” a live musical celebration to benefit The Actors Fund. (Get ticket info.) On the occasion of this special event, TVLine invited Grey’s creator Shonda Rhimes to discuss how she and her team make beautiful music together — as well as preview the dramatic notes to come for Meredith, Cristina, Alex et al.
Tvline | Back when you were developing Grey’s, did you know it was going to be so music-centric?
When we started talking about...
Tvline | Back when you were developing Grey’s, did you know it was going to be so music-centric?
When we started talking about...
- 3/15/2012
- by Matt Webb Mitovich
- TVLine.com
I probably listen to more scores than most people (or even most film fans) do and I realized that while the various scores filling my iTunes range from action (Loud Noises!) to drama (sad guitars) to comedy (funny guitars!) one fact remains consist across the board – the majority of these scores are composed by men. In a time where the ladies are starting to make their presence more and more known in film (which, let’s be honest, has been a veritable boy’s club up until the past few decades) with Kathryn Bigelow becoming the first woman to win the Oscar for Best Director for 2008’s The Hurt Locker to the ladies of Bridesmaids taking some of the raunchy comedy heat from the boys, it surprised me to see such a lack of a female presence when it came to who creates the music for these films. I am a lady and I (clearly) have a...
- 3/1/2012
- by Allison Loring
- FilmSchoolRejects.com
Los Angeles -- A whiteboard hangs on the wall of the tiny Hollywood studio used by the Smeezingtons, Bruno Mars' production and songwriting team. It's filled with doodles, including a picture of Alf and a joking note that producer-engineer Ari Levine "hangs out with Jamaican drug lords on the reg."
Mars, just back from a tour, plinks away at a newly-purchased Korg keyboard while Levine and singer-songwriter Philip Lawrence perch on couches. Levine's dog Rambo snores noisily on the floor.
This is the Smeezingtons' moment of calm after storming up pop charts for the past two years.
"What I just went through the past year, I've never done before in my life. Everything: Interviews, on television, we've toured everywhere," Mars says, shaking his head. "I'm excited for round two."
The first round was a doozy: Mars has six nominations at this Sunday's Grammy Awards, including one for album of...
Mars, just back from a tour, plinks away at a newly-purchased Korg keyboard while Levine and singer-songwriter Philip Lawrence perch on couches. Levine's dog Rambo snores noisily on the floor.
This is the Smeezingtons' moment of calm after storming up pop charts for the past two years.
"What I just went through the past year, I've never done before in my life. Everything: Interviews, on television, we've toured everywhere," Mars says, shaking his head. "I'm excited for round two."
The first round was a doozy: Mars has six nominations at this Sunday's Grammy Awards, including one for album of...
- 2/8/2012
- by AP
- Huffington Post
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