Recording - May 2015 - 51

MAY 2015
Keynote Interview: Part Two, TAXI Road Rally 2014

Maureen Crowe: Lifetime Achievement Award Recipient
Interviewed by Michael Laskow
I want to get back to picking music and pushing
boundaries and taking risks. In Houdini there's a lot of
Rock stuff in the score, but it's a period piece-almost
unheard of. Variety magazine did an article and talked
about you doing that. Who comes up with an idea like
that? "Oh, we're doing a period piece about Houdini,
let's stick a bunch of Rock songs in there." And it
worked really, really well.
Well, look at Boardwalk Empire. How does Boardwalk Empire start? What's the opening title music?
It's Rock ... it's guitar, it's Rock! So it's the same
thing with Houdini. Initially, the director and the
producer wanted to do a very linear story, he
wanted all period; even like the recordings shouldn't be perfect; like you want a little "hair" on it. I
was finding circus bands and stuff. But it didn't
work, because it didn't give you the emotional contact that [Houdini] was a Rock star of his day, that
he really pushed the boundaries. And the same
thing with Boardwalk Empire. So, by using contemporary music and using Rock music, it immediately
telegraphed to people that this guy was really crazy
and tough and he pushed the edges and he was
constantly on the move and had that drive. And
you know, "Bicycle Built for Two" was not going to
do that.
On a film, you have months and you answer to the
director and make him or her happy. On episodic TV,
because it's weekly, when do you get the script?
What's your timeline like as a supervisor? And who do
you have to make happy for a TV show?
Usually you get a budget for the entire year, and
then you can kind of break it up per episode. So
some episodes I might use less money, and then
kind of bank the money for something bigger and
more expensive they may need later on. Usually we
start in like June or July-a couple months
before-you're with the writers and you're writing
notes on scripts and you're kind of [gathering]
stuff. And then as time goes on, that prep-time gets
less and less. Because, like I said, as you're prepping
one story, you're shooting another, and you're
doing post-production on another. So it just starts
really going like a machine.

Maureen Crowe surrounded by some of her fans after her Lifetime Achievement Award presentation and Keynote Interview.
(Photo by James DiModica)

You have to please the writers, and usually these are
all teams. So there's usually an executive producer,
who is the head guy or head woman who has to say
"okay" to everything. But then each script may have
a different team. They may have 10 writers on the
show, and each one gets assigned a different writer,
or they might write together. And then you have
different directors coming in every week. The directors are made-for-hire, and they follow through the
whole thing, so you may be switching among two
or three directors at a time-one in prep, one that's
shooting, and then one in post. And they may come
in with their own ideas, you know, so you have to
kind of get into their sensibility. I mean, that was
really a common thing, because [all of those
episodes] were all different themes and had differ-

ent things going on.
On a show like Scandal, or even like Nashville, a lot
of that stuff will be prepped ahead of time and the
director will just... So it really will go to the writers
and the studio to make the decisions. If the studio
isn't happy-especially with a big franchise like
ABC-they will be involved in it.
It used to be that there was a lot of timing involved
with record labels, both in films, probably in TV shows.
We've got an artist who is doing a release, probably a
known, previously successful artist who has a Christmas release coming out in say September or October.
So the supervisor might work months in advance to
time the release of the single with the show. Does
Continued on page 52
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Recording - May 2015

Table of Contents for the Digital Edition of Recording - May 2015

Contents
Recording - May 2015 - Cover1
Recording - May 2015 - Cover2
Recording - May 2015 - 1
Recording - May 2015 - 2
Recording - May 2015 - 3
Recording - May 2015 - 4
Recording - May 2015 - 5
Recording - May 2015 - Contents
Recording - May 2015 - 7
Recording - May 2015 - 8
Recording - May 2015 - 9
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Recording - May 2015 - Cover3
Recording - May 2015 - Cover4
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