The intricate relationship between music and television was vividly highlighted on April 15 at the IndieWire and Disneys 'Pass the Remote' panel. This engaging event, held at the Vidiots Foundation in Los Angeles, featured a distinguished lineup of some of the industry's most talented composers and music supervisors, who gathered to share their insights and experiences in the world of soundtracks.

Among the prominent figures present were music supervisors Tiffany Anders, known for her work on 'Good American Family', and Jen Ross, who has lent her expertise to 'English Teacher'. They were joined by a stellar cast of composers, including the Newton Brothers, who are known for their collaborations on projects like 'Daredevil: Born Again', Siddhartha Khosla from 'Only Murders in the Building' and 'Paradise', Ariel Marx of 'Dying for Sex', and Michael Paraskevas, who contributed to 'Agatha All Along', creating an atmosphere ripe for discussion about the trials and triumphs of crafting compelling soundtracks.

A major theme emerged during the discussion: the critical role of music as a vehicle for character expression. For Anders, the choice of songs in 'Good American Family' was particularly significant. The soundtrack featured a blend of music that spanned decades, including 1970s ballads like 'Sometimes When We Touch' and 'Romeos Tune', alongside more contemporary hits from artists like Jimmy Eat World, Meat Loaf, and Miley Cyrus. These selections were meticulously curated to resonate with the audience and represent the musical tastes of the show's central family.

The parameters were, what did these people from the late 90s and 2000s grow up listening to? Anders explained. What kind of stuff do they respond to? We aimed for that zone of radio music that connects with their experiences and identities. A pivotal moment in the series involves a character, played by Mark Duplass, experiencing a job loss and responding to his emotional turmoil by blasting Green Day in his car. Anders noted that this choice perfectly encapsulates the characters essence: Its not gangsta rap, its not metal. Its Green Day, which is perfectly Michael. Hes a wounded man-child, and the song has this pop sensibility to it while still having an edge.

Turning to 'Daredevil: Born Again', the Newton Brothers, comprised of Andy Grush and Taylor Stewart, emphasized their intention to infuse the score with the essence of the city itself. The city is an omniscient presence that is always calling out to its people, whether theyre vigilantes or ordinary citizens, Grush explained. The challenge was to create a unique city theme that resonates with all characters, while also respecting the musical foundations laid by composer John Paesano in previous seasons. Stewart noted, As a fan, you expect a certain sound from a character, which is why we had in-depth discussions about how to carry over those elements while enhancing them with new religious tones, organs, and choirs.

Siddhartha Khoslas work on 'Only Murders in the Building' has evolved since the show's inception, as he collaborates closely with showrunner John Hoffman to reinvent the score each season. John wants to refresh the musical landscape every year, which keeps it exciting, Khosla shared. We have thorough discussions before production to map out the season's arc, allowing me to craft new themes that reflect character development. In stark contrast, Khoslas other project, 'Paradise', required a different approach entirely. The score blends classical techniques with synth music, invoking a mood that feels both immersive and tense. We aimed to create an atmosphere that makes the audience feel trapped in this world, he elaborated, highlighting the complexity and depth of his creative process.

Ariel Marx faced her own unique challenges in composing for 'Dying for Sex', a show that demands a musical language capable of navigating its wide-ranging tones, from comedy to raw tragedy. By joining the project during an extended pre-production phase, she was granted the freedom to explore various ideas and musical styles. It was all about experimenting and discovering what worked best for the narrative, Marx explained. This is a story about a woman confronting mortality and experiencing life to the fullest, which is why I incorporated organic, humorous sounds that aligned with her journey.

Despite differences in tone and genre, the composers shared a common understanding of the demands of their craft. For Michael Paraskevas, the task of scoring 'Agatha All Along' involved reinventing the titular character from villain to antihero, which required a nuanced musical approach. We eliminated traditional superhero sounds, opting instead for a unique ensemble of strings, trombones, and electronic effects to capture her complex personality, he noted.

In contrast, Jen Ross's work on 'English Teacher' involved an innovative use of iconic 1980s pop songs, aiming to evoke nostalgia while establishing a timeless connection with viewers. Our goal was to create a soundtrack that felt familiar yet fresh, Ross said, acknowledging the challenge of using songs from a bygone era while also navigating the complexities of music licensing, particularly when original recordings were unavailable.

Anders also touched on her extensive experience in music supervision, emphasizing the importance of adaptability and thorough research in her role. She explained, You often need to suggest alternatives quickly, and knowing the ownership and rights of each piece is crucial. The panelists unanimously agreed that understanding the showrunners vision is essential, as communication styles vary widely among directors and creators.

Its a lot like a relationship, Grush reflected. You meet someone new, and you need to figure out their tastes and preferences. Its the same with each project; understanding what the creator wants is key.

The discussion concluded with an invitation for attendees to watch the full panel video. The event showcased the rich, collaborative nature of music supervision and composing in television, highlighting how these artists shape the emotional landscapes of the stories we love.

For those interested in further exploring the world of music in television, a screening and Q&A for 'Sly Lives' is scheduled for May 3, providing another opportunity to delve into this fascinating intersection of art and entertainment.