Creatively speaking, where do you draw from other than the script itself, do you have a wall of records you talk to or how do you generate your ideas?
Yes. Sometimes I actually do that. My last resort, I just stand next to the wall of music and just sort of close my eyes and hope for a miracle. But, yeah after I read the script and we see a rough cut, different scenes just kind of reach out and kind of call out for different types of music. You know, a fight going on at Merlotte's or if there's some sort of party at Lafayette's or whatever it happens to be. I have that idea of what the overall sound of "True Blood" is so I... find the right songs. Then I'll play them for Alan Ball and he'll kind of make the final decision of what he thinks works. And then the next step for me is actually clearing them, and getting the license and negotiating the deal and all that.
Right, the glamorous part?
Yeah, it's not that bad but I guess you could say it's less glamorous, but definitely a huge part of the job.
I suppose your other job, DJ'ing at KCRW must help with your approach to finding the right songs.
Is your process with "True Blood" any different from what it was with say, "Weeds" or "Six Feet Under?"
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