Through these relationships, and with the licensing companies accommodating our very limited music budget, we were able to create something really special and unique for the closing of season one. While at the Sundance Film Festival, I bumped into my old friend Daniele Luppi, who had just worked with Danger Mouse and Cee-Lo Green on a forthcoming Gnarls Barkley album. A decision was made to use a crane shot to make more out of that scene than was originally intended. At the end of episode seven, Walt and Jesse watch gangster Tuco pummel one of his own henchmen to death. Jesse was originally supposed to die in episode nine, and when the writer’s strike happened, we were forced to end the season at seven episodes, saving the character of Jesse from an early and tragic demise. Originally there were supposed to be nine episodes in season one, but a writer’s strike cut the season short. We needed a song that would end the season on a strong note and really capture the notion that Walt and Jesse are now in way over their heads. In the finale of season one we closed with an unreleased Gnarls Barkley song “ Who’s Gonna Save My Soul.” When I first heard it, I thought: My God, the lyrics are absolutely perfect. It’s both the most challenging and most rewarding job we’ve ever had. For Thomas Golubić and SMV, there is no greater experience than that divine moment – sometimes late into the night - when we’ve found THAT PERFECT SONG for a scene in Breaking Bad. Vince Gilligan's clarity of purpose in storytelling and his confidence in his collaborators is what brings out the best work in all of us. Nothing in the show is by accident, and we put great thought and care into every music moment. We use music sparingly in Breaking Bad, both songs and score. Vince Gilligan leads the creative session and we establish together what role music, sound effects and ADR (additional dialogue recording) will play in the episode. This group includes show runner Vince Gilligan, exec producers Michelle MacLaren and Melissa Bernstein, editors Kelley Dixon and Skip MacDonald (dependent on episode), post-production producers Diane Mercer and Andrew Ortner, sound editor Nick Forshager, ADR supervisor Kathryn Madsen, composer Dave Porter, music editor Jason Newman and myself. Once picture for an episode has been locked (no additional editing needed), members of the Breaking Bad team meet together for a ‘spotting session’. Most importantly, we try to always stay true to the characters, stay true to their culture, and remain faithful to the Breaking Bad world we've created. Sometimes we use music to play counterpoint to the on-screen action and other times it subtly supports it. There are times when we use music as a relief from the heaviness of the story, or as an opportunity to support time-compression montages as we illustrate the cooking process. With Breaking Bad, our approach to music supervision begins and ends with characters and story. He turns to a life of crime - hence the show's name - producing and selling methamphetamine with a former student, Jesse Pinkman (Aaron Paul), with the aim of securing his family's financial future before he dies. Set and produced in Albuquerque, New Mexico, Breaking Bad is the story of Walter White (Bryan Cranston), a struggling high school chemistry teacher who is diagnosed with inoperable lung cancer at the beginning of the series. Great New Roy Phillips album, "Standard Procedure 1"Ī set of songs given the classic Peddlers treatment includes "Summertime", "Got My Mojo Working", "Let It Be" and a live version of "My Way" recorded in 1974 by the Peddlers in Amsterdam.Breaking Bad is an American television drama series created and produced by Vince Gilligan. Thanks to Terry Sinnett for additions to Galleries page. Thanks to Dave Stewart.Īddition to Galleries page - Peddlers on Dutch TV. Addition to Galleries Page - Personal Collection.
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