What would normally take us a few minutes of time, just multiple that by three or five.”
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If it didn’t, I would tell them how to adjust. “I would bring it into my system and see if it worked. “We would communicate through Zoom and they would record into their phones and email me their lines,” said Boggs. Principal actors were situated all over the world and lacking in proper recording equipment, which resulted in microphones being sent to them. I brought the recordings back to my studio, synced everything up, and did what I could to make it work.” “But the problem at the beginning was the actors on the two different stages couldn’t hear each other and one stage was two or three seconds ahead of the other one. “They were able to engineer that so we could have two ADR studios running simultaneously,” said Boggs. “Noah wanted the score to have elements of the Dust Bowl, so I used a lot of eclectic organic instruments, like a Marxophone, mandolins, vibraphones, and guitars,” said Russo, who had experience working with these instruments prior to “East/West.” The score for “East/West” was written during the COVID-lockdown and recorded with an orchestra when restrictions began to ease in August 2020. Russo credits the “masterful” work of the sound mixing team for the scene’s effectiveness, “There were these two disparate sounds there is music and all of this sound design, and finding the middle ground for them to work together was a lot of work.” “It starts quieter, builds up, has more flourish, and then settles down.”Īnother critical and memorable piece of score occurs during the tornado scene, which is captured through a cacophony of music, orchestral notes, and sound effects. “It’s a whole dance between music and picture,” said Russo. “The Wizard of Oz” was an inspiration for Russo, in particular when Satchel walks out of his hotel room near the episode’s end and the black-and-white imagery transitions into color.
“The editors will be using the themes as temp, and I reshape the temp to work with the scenes and occasionally need to rerecord stuff.” “A lot of times Noah will take the music that I’ve written and listen to it while he’s out scouting for locations because it will help to inspire him tonally,” Russo said.
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Jeff Russo and series creator Noah Hawley have been working together since the 2009 ABC series, “The Unusuals,” and developed a specific way of collaborating where the composer’s music plays a role in shaping the series.
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