Howling Success: Behind the Scenes of Finding the Perfect Soundtrack for a Werewolf in Season 2

Summary

Music plays a central role in Wolf Like Me, with the show's music supervisor Andrew Kotatko collaborating closely with director Abe Forsythe to create a unique soundtrack.

Kotatko's background as a director heavily influences his approach to music supervision, prioritizing the tone and underlying meaning of the music rather than simply selecting catchy songs. Working closely with Abe Forsythe, they both possess a profound comprehension of how music enhances the characterization in the show, resulting in certain songs seamlessly woven into the narrative.

The popular Peacock dramedy, Wolf Like Me, is returning for its second season. Isla Fisher and Josh Gad reprise their roles as Mary and Gary, while Fisher's werewolf secret is on the verge of being discovered. Abe Forsythe, the Australian filmmaker behind the 2019 zombie film Little Monsters, continues to write and direct the series entirely. Music is a significant aspect of Wolf Like Me, although it is not a musical. Forsythe, who is passionate about music, closely collaborated with acclaimed director and music supervisor Andrew Kotatko. Kotatko's exceptional work as a music supervisor includes the films Talk to Me and The Power of the Dog.

Andrew Kotatko discussed the creation of the distinctive soundtrack for Wolf Like Me in an interview with Our website. The collaboration with Abe Forsythe and the contribution of the actors from the SAG-AFTRA union, despite the ongoing strike in 2023, were crucial for bringing this show to life. This interview has been edited slightly for conciseness and coherence.

Andrew Kotatko On Wolf Like Me Season 2

Our website: I noticed that, in addition to your role as a music supervisor, you also have experience in writing and directing short films. It's apparent that you have a passion for storytelling in all its forms. How does this multidimensional approach enhance your work on a show like this?

Andrew Kotatko expressed gratitude for the mention of his films and shared his pride in them. He also revealed his involvement in another film next year, featuring Radha Mitchell. Additionally, he mentioned his plan to work on a third adaptation of Raymond Carver's work in early 2023.

His journey into music supervision began in the 1990s. The first project he worked on was Jane Campion's "The Portrait of a Lady." At the age of 23, he successfully found a composer for the film and had a remarkable creative collaboration with Jane. This opportunity came about through a film editor friend who introduced him to Jane, describing him as a passionate film music enthusiast. Interestingly, the editor had previously worked with Andrew on a short film, while also serving as an assistant on "The Portrait of a Lady."

I initially began my career in a high position, only to discover upon entering the Australian film industry that not all films and experiences are alike. In this industry, we often have limited resources but still strive to create a high-quality product. Over the course of 20 years, I learned how to turn a modest budget into something remarkable, honing my skills in directing, writing, and adapting.

As far as I know, I am among the few music supervisors who have tried their hand at directing and achieved some success. Directing is my passion, and it provides me with insights into the usage of music. When I consider music, I focus not only on catchy tunes or incidental music, but also on the specific tone and subtext it conveys. This perspective greatly influences my work. In essence, I approach projects as a director, pondering what I would personally enjoy and what each scene signifies to me in order to effectively present my ideas.

I have a strong connection with directors, appreciating their determination to fight for their creative vision. They face various challenges, including commercial and studio demands, as well as input from creative producers. Balancing all of these elements is no easy task. Personally, I wholeheartedly support the director's vision and strive to ensure it receives the best possible outcome.

Abe Forsythe, on the other hand, appears to be different. As both the creator and director, he holds very particular preferences when it comes to musical choices. Could you please elaborate on how our collaboration with him functions?

I deeply admire Abe on every level; he is an exceptional director. His talent in writing dialogue and developing characters, as well as his understanding of subtext, is truly commendable. In addition, he possesses a philosophical perspective. I believe that the show holds a philosophical edge; it surpasses mere entertainment as it delves into deeper layers. By employing the genre, he skillfully conveys the intricacies of relationships. The supernatural aspects of the story serve as a metaphor for the hidden secrets within all of us as individuals. It is a brilliant approach to take. The new season does venture further into genre elements, but ultimately, it centers around the complexity of a relationship and the question of its success. I find it remarkable.

Abe comprehends this concept well, and for him, music is intrinsically intertwined with character. It aligns with the journey of these characters to such an extent that certain songs have been seamlessly integrated into the narrative. For instance, in season one, we saw the inclusion of Queens of the Stone Age and Melody Gardot. These musical choices not only enhance the narrative but also make a recurring appearance in season two.

What I found remarkable about season one was our process of getting to know one another. However, in season two, there's a shorthand in our communication and music sharing. When Abe likes something, his enthusiasm is immediate. I specifically recall the sequence with "How Sweet It Is (To Be Loved By You)" because for a long time, we had nothing for it. Then, I decided to try Marvin Gaye's song and introduced it. As everyone sat there, unaware, he suggested, "Let's see how it works on the screen." I hesitated, mentioning that we hadn't consulted the music editor or tested it yet. He insisted, "No, no, let's just do it." Ultimately, Jodi (Matterson) remarked, "It's perfect," and he echoed the sentiment. It was the kind of understanding and alignment that one hopes for, knowing what the vision for the scene is and how it should come across.

I can't reveal too much, but I can mention that the first thing you hear is "Here Comes the Sun," and it returns in various forms throughout. What is it like to take a song such as that and adapt it to fit the narrative?

Andrew Kotatko: Not only do we repurpose that song, but we also do something quite extraordinary with "Lithium." It's quite daring, and I'm thrilled that Kurt Cobain's estate approved of it.

When it came to George Harrison, we had to approach Dhani and Olivia Harrison for permission. They were incredibly gracious and open to the idea. Piers Burbrook de Vere, the composer for both seasons, is truly exceptional. He has a deep understanding of the music and is incredibly talented, despite his young age. He created a quartet arrangement for the first usage of "Here Comes the Sun," and once again, we had to get approval from the estate.

You cannot simply proceed without taking people along and seeking their input, saying, "This is our plan. What are your thoughts?" They might withdraw their support and express their dislike, which does occur occasionally. However, if you are sincere and approach the situation with respect, people are receptive. The song holds great significance to me as we incorporate not just George Harrison's live rendition, but also Nina Simone's version, which I grew up listening to as a child in my household. It was released in the year of my birth, 1971, so it holds a special place in my heart.

What I truly appreciate is the song's transformative journey, starting with a quartet rendition in the beginning and progressing to Nina Simone's exquisite performance, ultimately culminating in George Harrison's iconic rendition. This progression of the song mirrors the characters' personal growth and aligns with the development of Mary's storyline throughout the show.

There is a scene in which a character is listing a bunch of bands and artists, and a lot of them happen to be people that we hear in the series.

Andrew Kotatko: That’s right. That was intentional.

Do things like that have to change based on what songs you’re able to get?

Andrew Kotatko: Yes, to some extent. We invested a lot of effort in pre-production, discussing artists like Etta James and Ella Fitzgerald with Abe. He asked me, "If you had to create a playlist of excellent jazz standards, what would it include?" So, I did. Many of those songs were shared and discussed early on in the process, even before we began filming.

Although there were temporary placeholders in the script, we made decisions about what we wanted to do before reaching the post-production stage, allowing these elements to seamlessly integrate into the screenplay. What I find fascinating about this show is that the music often precedes the scenes, as it is an integral part of the storyline. As Josh Gad mentioned in an interview, very few shows prioritize music in this way. It is typically an afterthought.

The range of music in this is absolutely mind-blowing. I've never experienced the combination of Dolly Parton and Queens of the Stone Age in just 30 minutes. Did you have any concerns about the transitions between such contrasting sounds? What about the flow from one song to another?

Andrew Kotatko: Sometimes, when you mix too many elements together, it results in chaos. It's like blending watercolors in a glass; the end product often turns out to be brown. However, I must say that the curation here is flawless. And I'm not just praising myself; I genuinely believe it applies to the entire show.

Every moment is carefully crafted with the right mise-en-scène and tone to match the music. It is not an afterthought; in fact, it is often planned and incorporated during pre-production. The music supervisor has a challenging task as they must ensure everything is in place before filming even begins, requiring a lot of exploration and preparation. This was a high-budget project, and the money invested can be heard in the music. With this particular project, I believe there are endless possibilities.

I had a similar experience with Goran Stolevski's film, "Of An Age," which was also released by Focus Features. It featured even more music than this series but relied on one piece of music repeatedly to ground the film. There was no original score; instead, it was the curation of the music and that one continuous thread that evoked a specific emotion throughout the film.

If it weren't for Piers' score, these flights of fancy in the case of Wolf would not be possible. The score serves as a musical foundation and enables these moments to be like colorful bursts of flowers in a field. The score is essentially the field itself, providing the necessary grounding and basis for such creative endeavors. Do you have a preferred song from this season?

Andrew Kotatko has two favorite songs. One is "Bright Eyes" by Art Garfunkel, which is featured in the film Watership Down. This film had a strong emotional impact on him as a child, leaving him traumatized for about a week. He feels a deep personal connection to this song.

The other song he adores is Paul McCartney's cover of "It’s Only a Paper Moon." He appreciates how it references "Blue Moon," which was featured in the first season of the series. This connection to American Werewolf in London is something he finds delightful. Andrew appreciates the recurring theme of the moon in the series, as it serves as a trigger for werewolves.

About Wolf Like Me Season 2

Coming soon: interviews for season 2 of Wolf Like Me!

VFX team members Adam Johansen & Damian Martin

Creator Abe Forsythe

Executive producer Jodi Matterson

Wolf Like Me season 2 drops on Peacock on October 19th.