The soundtrack to Freevee series “High School,” based on the memoir by Canadian twin sister pop duo Tegan and Sara Quin better known as Tegan and Sara, is a coming-of-age drama filled with wall-to-wall ’90s needle drops.
Says showrunner, writer and director Clea DuVall: “A lot of the needle drops were in the writing of the script, and that became an important building block.”
In all, some 70 songs appear in the show, a task handled deftly by music supervisor Brienne Rose.
Rose and DuVall pick their favorites from the first season.
“Senseless Apprentice” by Nirvana
Rose: There were a lot of conversations early on and we thought, “Ok, we’re going to go after it and let’s hope we get these.” We talked a lot about what the approach was going to be. I think what really helped us get in was the work is wonderful. So, we...
Says showrunner, writer and director Clea DuVall: “A lot of the needle drops were in the writing of the script, and that became an important building block.”
In all, some 70 songs appear in the show, a task handled deftly by music supervisor Brienne Rose.
Rose and DuVall pick their favorites from the first season.
“Senseless Apprentice” by Nirvana
Rose: There were a lot of conversations early on and we thought, “Ok, we’re going to go after it and let’s hope we get these.” We talked a lot about what the approach was going to be. I think what really helped us get in was the work is wonderful. So, we...
- 11/11/2022
- by Jazz Tangcay
- Variety Film + TV
It’s no secret that music plays a very important role in the Netflix comedy “Russian Doll.” IndieWire even chatted with the show’s music supervisor Brienne Rose and composer Joe Wong recently about how tunes like Nena’s “99 Luftballoons” and “Bela Lugosi’s Dead” by Bauhaus played significant roles in Season 2’s winsome timewarp adventure.
However, creator and star Natasha Lyonne considers the recent run of episodes to be defined by one band in particular. “I think this is the Pink Floyd season,” said the star, appearing via Zoom like co-star Chloe Sevigny at the show’s FYC event on Saturday in Los Angeles. Rose, who was there in person alongside moderator Maya Rudolph, executive producer Amy Poehler, costume designer Jennifer Rogien, and actors Charlie Barnett, Greta Lee, Annie Murphy, and Carolyn Michelle Smith, talked about how including two songs from the eminent British psychedelic rock group was one...
However, creator and star Natasha Lyonne considers the recent run of episodes to be defined by one band in particular. “I think this is the Pink Floyd season,” said the star, appearing via Zoom like co-star Chloe Sevigny at the show’s FYC event on Saturday in Los Angeles. Rose, who was there in person alongside moderator Maya Rudolph, executive producer Amy Poehler, costume designer Jennifer Rogien, and actors Charlie Barnett, Greta Lee, Annie Murphy, and Carolyn Michelle Smith, talked about how including two songs from the eminent British psychedelic rock group was one...
- 6/6/2022
- by Marcus Jones
- Indiewire
Music supervisor Brienne Rose gave the second season of “Russian Doll” a distinct musical tapestry. While Season 1’s soundtrack had a timeless feeling, evoking the time loop structure, Season 2 found Nadia (Natasha Lyonne) and Alan (Charlie Barnett) traveling to different time periods. “Because we’re time traveling I think there was more of an effort for us to use music in a way that time-stamped a little bit more,” says Rose in an exclusive new interview for Gold Derby. “We needed those songs to still capture the ‘Russian Doll’ world and capture the characters’ persona but be of the era.” Watch the full video chat above.
While the first season had the repeating theme of Harry Nilsson‘s earworm “Gotta Get Up,” Season 2 doesn’t have a song that repeats to such a significant degree. However, at different points in the season, we hear two different versions of Depeche Mode...
While the first season had the repeating theme of Harry Nilsson‘s earworm “Gotta Get Up,” Season 2 doesn’t have a song that repeats to such a significant degree. However, at different points in the season, we hear two different versions of Depeche Mode...
- 6/4/2022
- by Kevin Jacobsen
- Gold Derby
If you weren’t familiar with Harry Nilsson before the first season of Netflix’s “Russian Doll,” you certainly knew his song “Gotta Get Up” after it recurred on all eight of the show’s episodes — every time Natasha Lyonne’s Nadia repeatedly reawakens on the same night after dying in different ways. The second season of the series, now streaming on Netflix, doesn’t have a specific tethering song, but it serves up some choice cuts from the ’70s and ’80s, including Depeche Mode’s “Personal Jesus,” Bauhaus’ “Bela Lugosi’s Dead,” Falco’s “Der Kommissar,” Van Halen’s “Runnin’ With the Devil” and Nena’s “99 Luftballons.”
These needle drops are apropos considering the central theme of the new season is time travel — whenever Nadia takes the subway. “We wanted the music to feel authentic and line up with the eras,” says Brienne Rose, music supervisor for “Russian Doll,...
These needle drops are apropos considering the central theme of the new season is time travel — whenever Nadia takes the subway. “We wanted the music to feel authentic and line up with the eras,” says Brienne Rose, music supervisor for “Russian Doll,...
- 4/22/2022
- by Lily Moayeri
- Variety Film + TV
The first episode of Season 2 of “Russian Doll” ends with Nadia (Natasha Lyonne) alone in Central Park, at an impressive new low for a woman who’s died dozens of times: After boarding the 6 train in 2022, she’s disembarked in 1982, on the night her mother, Nora (Chloë Sevigny), lost the 149 gold coins that made up Nadia’s family inheritance. To make matters worse, Nadia is (more or less) occupying Nora’s body.
But the episode also ends on a wonderful musical high, the crashing cymbals and blasting organ of “Get It While You Can” adding momentum to a rotating 360-degree shot that switches between Lyonne and Sevigny and back again. Janis Joplin’s rendition of the gleeful soul track isn’t really for either mother or daughter. It’s for us. It’s a celebration of the fact that “Russian Doll” is back and weirder than ever.
Music supervisor Brienne Rose...
But the episode also ends on a wonderful musical high, the crashing cymbals and blasting organ of “Get It While You Can” adding momentum to a rotating 360-degree shot that switches between Lyonne and Sevigny and back again. Janis Joplin’s rendition of the gleeful soul track isn’t really for either mother or daughter. It’s for us. It’s a celebration of the fact that “Russian Doll” is back and weirder than ever.
Music supervisor Brienne Rose...
- 4/20/2022
- by Sarah Shachat
- Indiewire
Natasha Lyonne became the latest performer to write her way to an Emmy nomination with “Russian Doll.” Lyonne co-created this Netflix series about a New Yorker who finds herself trapped in an endless loop of death and resurrection, earning bids for writing, producing and acting. Prior to that, she contended in 2014 for her guest performance on “Orange Is the New Black,” for which she won Screen Actors Guild Awards ensemble prizes in 2015 and 2017.
For her Emmy submission, Lyonne has chosen the pilot episode, “Nothing in This World Is Easy,” for which she also competes in writing (alongside co-creators Leslye Headland and Amy Poehler). In this installment, Nadia Vulvokov (Lyonne) is celebrating her 36th birthday at a party thrown by her friend Maxine (Greta Lee). When she suddenly dies, she finds herself stuck in an endless loop where she violently perishes and wakes up back at the party.
See Brienne Rose...
For her Emmy submission, Lyonne has chosen the pilot episode, “Nothing in This World Is Easy,” for which she also competes in writing (alongside co-creators Leslye Headland and Amy Poehler). In this installment, Nadia Vulvokov (Lyonne) is celebrating her 36th birthday at a party thrown by her friend Maxine (Greta Lee). When she suddenly dies, she finds herself stuck in an endless loop where she violently perishes and wakes up back at the party.
See Brienne Rose...
- 9/13/2019
- by Zach Laws
- Gold Derby
“We wanted there to be a really timeless aspect to the music,” music supervisor Brienne Rose says about Netflix’s “Russian Doll” in an exclusive interview with Gold Derby (watch the video above). Rose justifies that “the show ceases to exist in time because she keeps dying and restarting,” referring to the protagonist named Nadia Vulvokov as played by hyphenate Natasha Lyonne. The dramedy is now nominated for 13 Emmy Awards, including Best Music Supervision for Rose’s work on the episode titled “Nothing in This World is Easy.” She justifies her selection of the debut episode as her submission for consideration, “Because it just sets the tone for the rest of the series, that one just became the important one because it really does display a lot of different styles of music that we incorporated in it — showcases a lot of what the themes that we ended up pursuing through the music.
- 8/7/2019
- by Riley Chow
- Gold Derby
A classic song for time-looping, surprising tunes for political campaigns, music for angst-ridden teenagers and wacky scores for dysfunctional families. All of these musical elements helped set the tone and make subtle storytelling points in much-talked-about comedies this television season.
Netflix’s “Russian Doll” used a Harry Nilsson song (“Gotta Get Up”) as its signature tune, which plays every time protagonist Nadia (Natasha Lyonne) dies and then loops back in time to her 36th birthday party.
Creators Lyonne, Leslye Headland and Amy Poehler wrote the Nilsson song into their pilot script, music supervisor Brienne Rose says. Because music supervision is “always about world-building,” she says, the use of this song also aids the audience in understanding what Nadia’s world sounds like — literally and emotionally.
“It resonated so well with the story, this strong juxtaposition of feeling very happy on the surface, but with lyrics that are really tragic and sad.
Netflix’s “Russian Doll” used a Harry Nilsson song (“Gotta Get Up”) as its signature tune, which plays every time protagonist Nadia (Natasha Lyonne) dies and then loops back in time to her 36th birthday party.
Creators Lyonne, Leslye Headland and Amy Poehler wrote the Nilsson song into their pilot script, music supervisor Brienne Rose says. Because music supervision is “always about world-building,” she says, the use of this song also aids the audience in understanding what Nadia’s world sounds like — literally and emotionally.
“It resonated so well with the story, this strong juxtaposition of feeling very happy on the surface, but with lyrics that are really tragic and sad.
- 6/10/2019
- by Jon Burlingame
- Variety Film + TV
Songs For Screens: UTA’s Maxim Karlik Brings A-List Music Moments to ‘Aladdin,’ ‘Aquaman’ and Beyond
As co-head of UTA’s Music Crossover division, Maxim Karlik sits at a unique intersection of music, TV and film.
Serving as a conduit between UTA’s music clients, TV and film teams and showrunners and directors, Karlik has helped secure original song placements for artists including DJ Khaled (an update on “Friend Like Me” for 2019’s “Aladdin”), Muse’s Matt Bellamy (“Pray” for HBO’s “For The Throne” album) and Pitbull (“Ocean To Ocean” for 2018’s “Aquaman”); acting roles for DJ Khaled and Action Bronson (Netflix’s Martin Scorsese-helmed “The Irishman”) and composer roles for Phil Lawrence (Netflix’s Christmas musical “Jingle Jangle”), Bret McKenzie and Bo Burnham.
The common thread for each project, Karlik offers, is the ability to help musicians flex their creative muscles outside their known lanes. “I think songwriters get pigeonholed sometimes for their previous work,” he says. “I love when somebody gets a...
Serving as a conduit between UTA’s music clients, TV and film teams and showrunners and directors, Karlik has helped secure original song placements for artists including DJ Khaled (an update on “Friend Like Me” for 2019’s “Aladdin”), Muse’s Matt Bellamy (“Pray” for HBO’s “For The Throne” album) and Pitbull (“Ocean To Ocean” for 2018’s “Aquaman”); acting roles for DJ Khaled and Action Bronson (Netflix’s Martin Scorsese-helmed “The Irishman”) and composer roles for Phil Lawrence (Netflix’s Christmas musical “Jingle Jangle”), Bret McKenzie and Bo Burnham.
The common thread for each project, Karlik offers, is the ability to help musicians flex their creative muscles outside their known lanes. “I think songwriters get pigeonholed sometimes for their previous work,” he says. “I love when somebody gets a...
- 6/4/2019
- by Andrew Hampp
- Variety Film + TV
Harry Nilsson’s catalog is a bit of a Russian doll itself: Anyone who stumbles upon the half-dozen or so songs that show up most in TV, the movies and commercials,” “Everybody’s Talkin’,” “Me and My Arrow”) is inevitably led into a world of deeper and deeper tracks.
Now, 25 years after his death, Nilsson’s most popular song is unexpectedly “Gotta Get Up,” no longer just another album cut thanks to its use — or, actually, dozen-plus usages — in “Russian Doll.” Netflix’s breakout series has Natasha Lyonne literally starting her life anew on a regular basis to the whimsical/nightmarish strains of a little Nilsson in the night. And rather than get sick of the comically recurrent tune, viewers actually wanted to hear it much, much more. Spotify said that “Gotta Get Up” hadn’t even been on a list of Nilsson’s most streamed tracks prior to the “Doll” premiere,...
Now, 25 years after his death, Nilsson’s most popular song is unexpectedly “Gotta Get Up,” no longer just another album cut thanks to its use — or, actually, dozen-plus usages — in “Russian Doll.” Netflix’s breakout series has Natasha Lyonne literally starting her life anew on a regular basis to the whimsical/nightmarish strains of a little Nilsson in the night. And rather than get sick of the comically recurrent tune, viewers actually wanted to hear it much, much more. Spotify said that “Gotta Get Up” hadn’t even been on a list of Nilsson’s most streamed tracks prior to the “Doll” premiere,...
- 3/5/2019
- by Chris Willman
- Variety Film + TV
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