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As the show has gotten bigger, so has the soundscapes. Over the course of its massively popular first four seasons, “Stranger Things” has gradually expanded into a science-fiction epic with one of the largest budgets on television.

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This was really a project for me where everything I’ve worked on in my life so far just came full circle.” And I sent them just four or five songs that ended up being cut up into the theme of the show. I wanted to write songs for a band, so what I played originally was just guitar, bass, drums. And instead of thinking about score, I just started writing songs. I think I literally drove my car 100 miles an hour, I couldn’t wait to get back to the studio. “So I got to see the pacing and the dialogue and just hear all the workshopping that everyone was doing. It was really nice of him to do that, because composers don’t normally get to do that,” Krlic said. “Sung invited me to the first table read that the cast and everybody had. Being able to read scripts and watch rehearsals before anything was filmed allowed him to grasp the show’s tone earlier and make bolder musical choices as a result.

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“Beef” composer Bobby Krlic explained that creator Lee Sung Jin afforded him a level of access to his hit Netflix series that composers rarely get.

So I came on early, did a lot of ideas, and finally honed it down to ‘this feels like Wednesday.’” It just involved lot of experimenting and finding out what is ‘Wednesday’ musically. “I also got involved very early, because Tim didn’t know for sure what the tone was gonna be. Like a tank that nobody’s allowed in,” Elfman said. And I was working exclusively with Tim, because when I’m working with Tim he just likes to keep a closed circle. Chris was more in the traditional lane, working with the showrunners on the four episodes he did. “It’s funny because Chris and I shared responsibilities, but our experiences were completely different. The music that eventually emerged from “Wednesday” was a combination of the two men’s ideas, but they never worked side-by-side. Director Tim Burton brought his lifelong collaborator Elfman in to score the episodes that he directed, while Bacon worked concurrently to compose music for the remaining episodes. While Malone was coordinating with Ortega, composer Danny Elfman and co-composer Chris Bacon were busy writing the music for the rest of the series. “We also had to get it to Jenna in time so that she could learn it - which she did phenomenal with.”

“For ‘Wednesday’ we came on super early, because in the first episode we had the on-camera cello performance of ‘Paint it Black.’ So we had to get that created and really dial in,” music supervisor Jen Malone said.

Our editors moderated four panels featuring the artists behind Starz’s “P-Valley,” Paramount+’s “Grease: Rise of the Pink Ladies,” Netflix’s “Stranger Things,” “Beef,” and “Wednesday,” and Showtime’s “Yellowjackets.” There will be video content and more on IndieWire’s social feeds in the days ahead.įinn Wolfhard Was Told He Was Too 'Young' to Direct a Movie: 'We're Going to Mess Up a Lot'ĭGA Member: Other Guilds 'Can Absolutely' Benefit from Directors' Gainsĭespite the wide range of genres that were represented in the event, panelists from every series returned to the theme of departments going above and beyond their job descriptions to perfect the details of our favorite shows.

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IndieWire hosted nearly 200 TV Academy, guild members, and other industry in attendance for a packed event at NeueHouse Hollywood that included a welcome reception, buffet lunch, items raffled by Rabbit Hole whiskey, Stanley cupware, and a Dell computer followed by a cocktail reception. That type of collaboration was a recurring theme to be celebrated at IndieWire’s Consider This Event on Saturday June 3. And while the production team might have made it look easy, it required intense coordination between multiple departments. It’s a fusion of old and new that helped make the show a cultural phenomenon when it debuted on Netflix in November 2022.

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In the first episode of “Wednesday,” Jenna Ortega’s title character plays a cello cover of The Rolling Stones’ goth anthem “Paint It Black.” Pulling off such a scene required licensing the song, orchestrating a new arrangement of it, and teaching Ortega how to play it - all while the traditional scoring process was taking place.