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This is my second career.
After watchingIron Man, thats where I kind of came up with [wanting] to do supervision.
I moved out here and just kind of started from the bottom.
I was an intern.
As a second career, I was a little bit older than most of your interns today.
I think since Ive been doing it, music has definitely come to the forefront more and more.
Was there one music moment inIron Manthat really struck you?I think the AC/DC.
Marvel films are just so big and exciting and Im such a fan.
I didnt really realize that that was a job.
I saw Dave Jordans music-supervision credit and I was like,Okay, thats what I want to do.
Im going to be a music supervisor.
And then I moved out here and hustled.
He believed in me and saw something in me and gave me my first shot.
Im interested in the exact breakdown of that job and how you go about your work.
Music supervision is a collaboration.
Theres so many moving parts to doing a show.
We knew that we didnt want to repeat ourselves but at the same time still have thatEuphoriafeel.
Your work is pretty wide-spanning, in terms of subject matter.
What draws you to that particular subject matter?Its about the script.
Its not something thats ever intentional.
It takes place in New Jersey and Im from Jersey, and I was in school in the 90s.
One of our showrunners, Ashley [Lyle], is from the neighboring town.
You mentioned that you grew up around that time and that area.
PJ Harvey, I remember getting that CD.
I had a pretty wide taste in music growing up.
But, of course, I went through my goth and industrial phase.
[Laughs]I will not hide my love for industrial and more goth-leaning stuff.
I grew up on Portishead.
Thats another CD that I remember getting and having in my collection.
The Enya idea was interesting.
Enya was the first choice and then we were actually denied at first.
We had an alt picked out.
Everybody was like, Okay, this is still great, but Enya would be awesome.
I said to the showrunners, Write a letter, you guys.
Youre such beautiful writers, maybe we can reverse the denial.
We dont want to say no until its asked, like, five times.
And then on the fifth time when its a no, Im like, okay, fine.
But they wrote a letter.
It was two days before we delivered the episode.
And Ashley and Bart [Nickerson]s letter worked.
So we got that song, and people are so excited about it and freaking out over it.
The response to both shows, its just been overwhelming.
For season two ofYellowjackets, the playlist is so long.
Ill say: Its Tori Amos.
Which I know a lot of our fans are waiting for.
I remember the first time I heard that record.
Thank God we have season two.
Theres so much forYellowjacketsthat Im just very excited to dig into in season two.
We havent even scratched the surface with the songs from that time period.
To reintroduce these artists to a whole new audience has been very special for both shows.
I think its missing some of the angst.
I dont think its as hard as it was.
So I think the younger audience is feeling that, maybe.
So thats why we have shows likeYellowjackets, likeEuphoria.
I thinkCruel Summerdid a great job as well with their music.
Im such a fan of that show.
I think their supervisor, Kevin [Edelman], did a great job.
So maybe its because our audiences now are feeling that void of angst and anger.
That PJ Harvey kind of feel, and Janes Addiction, Tupac even.
Were missing that now.
And perhaps a lot of the music that were using in the shows [is] filling that void.
This interview has been edited and condensed for clarity.
