Homecoming, Amazon’s new drama, is notable for being the first TV show adapted from a scripted podcast. But once you settle in to watch the show itself, you’re hit with the score: mostly creeping, paranoid songs lifted from the scores of ’70s thrillers like The Conversation and The Parallax View; orchestral arrangements recognizable from 2001: A Space Odyssey and Barry Lyndon; and eerie John Carpenter synth that should feel out of place but doesn’t. Behind the team that got all those songs in place is Maggie Phillips, a music supervisor who’s worked on The Handmaid’s Tale and Fargo. Even before she was hired, showrunner Sam Esmail knew he wanted to borrow from Klute and All The President’s Men for his own mystery show, and the music team took those as a jumping-off point for sourcing other songs. Eventually the decision was made to use only pre-existing scores. Nearly all are from ’70s and early ’80s films, and Phillips told The A.V. Club that the show’s score was “a beast” to put together. “I don’t think anyone—including myself—fully understood the scope until we really got into it,” Phillips said. “In theory the idea sounds really cool, but then once you’re in practice trying to score specific things with pre-existing scores, it is a challenge. And it was very much a team effort with my team, NBC Universal’s clearance team, and the editors, and assistant editors—we were all digging through many, many scores to try to find stuff that worked.” Some 45… [Read full story]
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