![]() ![]() We sometimes have to dip into the ‘70s more than I would even like just because of the prices, but then I always think to myself, “We’re in 2019, and I listen to music from 10 years ago.”īut when we are playing music as source, like coming out of the speakers or coming out of a car or anything that’s diegetic sound, that’s when we try to be even more authentic and try, if we can, to get it from that year. Since Snowfall takes place in the ’80s, how do you use music to provide context to the time period? It’s worth it for sure, because this is one of our all-time favorite shows and everyone we work with we love. It’s like working on an indie movie each episode because of the challenges of the budget and the time period, and how many songs there are. Because we literally have between 10 to 15 songs in every episode. I don’t have time to go to a record store, but we do it online and we’re lucky that we’re in a time that it’s available to us now. It’s like crate digging, but we do it virtually. That’s how we find some of those gems that make it possible to stay within budget. It’s this wealth of so many amazing songs that just didn’t get the visibility that other bands from the ‘70s and '80s got. This is specifically also trying to find stuff that fits our budget. Maggie: Well for Snowfall, we try to find old labels that didn’t get bought up by the majors and still have their stuff. So it just happened to be a happy coincidence that worked out really well. Christine started out as my assistant and now she’s co-supervising and supervising other projects by herself. She leans a little more punk and I lean a little more cheesy, as far as our own personal tastes, but we work well together. Maggie: Christine knows more ‘90s and I know more '80s, I would say, but that’s just because of her age. What do you think makes you guys work so well together? Do you guys have similar music tastes, or do you think opposites attract? ![]() I would say it wasn’t until I got connected with Maggie that the opportunity to move over and focus on music supervision happened. So I went on the path of being an assistant to mostly producers and directors making film and TV. I moved out to LA when I was so young, right after going to McGill, and I was hungry for any opportunities. And then Christine contacted me.Ĭhristine: Yeah, it was just something I’ve always been interested in. They kept hiring me on stuff and then they blew up. He asked for my help on that because that was one thing we shared, our love of music. So we are all in New York around the same time in our late 20s and they made their first film, The Puffy Chair. We stayed friends and then we all moved to New York right around the same time–he and his girlfriend, me, and his brother Jay Duplass. He was in a band called Volcano, I’m Still Excited!! We had mutual friends, and afterwards we met for the first time at his show. One of the bands I saw, Mark Duplass was in. I was born and raised in Austin, and when I was in my 20s in Austin I would go see live music all the time. I did that for my 20s, but I was also a huge music fan. I was a painter for 10 years out of school. This interview has been edited for length and clarity. Genius spoke over the phone with Phillips and her co-supervisor for Snowfall, Christine Greene Roe, who’s been collaborating with Phillips since 2016, to talk about their music selection process for Snowfall, working with John Singleton before his untimely death in April 2019, and how some artists are afraid of having their music in the show because it features crack cocaine. ![]() Since then, she’s worked on TV series like The Handmaid’s Tale, Umbrella Academy, and Homecoming, as well as movies like Moonlight, Ingrid Goes West, and Isn’t It Romantic. With unforgettably bold song placements like “Yama Yama” by Japanese band Yamasuki Singers and “Mustache In Your Face” by Toronto rockers Pretty, Phillips solidified herself as one of the most sought after music supervisors in the business. Phillips’ first major credit was the 2005 indie film The Puffy Chair, but her true breakout came in 2014 when she was tapped for the second season of Fargo. A daring show needs a daring soundtrack to match, which is why it’s no surprise co-creators John Singleton, whose iconic 1991 directorial debut Boyz in the Hood earned him an Oscar nomination, and Dave Andron, best known for producing the hit series Justified, hired music supervisor Maggie Phillips. In 2017, FX’s period drama Snowfall made waves for its fearlessly honest depiction of the 1980s crack cocaine epidemic in Los Angeles. ![]()
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