Unveiling the Majestic Soundtrack of 'Our Flag Means Death' Season 2

Max's Our Flag Means Death Season 2 has reached its finale, proving that the unpredictable and tumultuous life of pirates can extend beyond the open sea. In a romantic reunion on the beach, Stede and Ed were interrupted by foes, forcing them to assist Zheng in a swordfight. Despite their efforts, their plan to reclaim control of the Republic of Pirates resulted in the loss of Izzy Hands, Ed's trusted right-hand man and first mate. However, Izzy left behind significant parting words that Ed needed to hear.

Now, the crew's future appears to be divided once again. However, this time, there is a somewhat happier note as Stede and Ed are settling into their innkeeper life. Meanwhile, they watch the Revenge sail off into the sunset, under the command of Frenchie (Joel Fry). The picturesque scene is accompanied by the swelling and ultimately hopeful cover of "The Times They Are a-Changin'" by Nina Simone. As the finale approaches, it remains uncertain where the show will venture next. Nevertheless, before the conclusion, Our website had the opportunity to interview Our Flag Means Death music supervisor Maggie Phillips. During the interview, she delves into the details of some of the best needle drops, including O'Neill's rendition of "La vie en rose," the surprising inclusion of Kate Bush as the artist for Season 2, and the exciting collaboration with show creator David Jenkins, among many other topics.

Our Flag Means Death

Release Date: March 3, 2022

Cast: Rhys Darby, Taika Waititi, Rory Kinnear, Con O'Neill

Main Genre: Adventure

Genres: Comedy, Action, Adventure, Biography

Rating: TV-MA

Seasons: 2

Our website: Prior to delving into specific moments from the episodes, I'd like to inquire about the teaser trailer for Season 2. A topic of much discussion was the utilization of the Prince song, "The Beautiful Ones." Did your team have the liberty to choose which song would feature in the trailer?

MAGGIE PHILLIPS: We had a conversation about that. David [Jenkins] asked me about a particular song, either related to Prince or in general. That specific song caught our attention early on, even before we thought about the trailers. We attempted to include it in Season 1, but unfortunately, there wasn't a suitable spot. Personally, I've been a dedicated fan of Prince since high school. Once, for Halloween when I was 17, I even dressed up as a lesser-known Prince song called "Scarlet Pussy." I was a red cat. [Laughs]

Throughout my career, Prince's music was always restricted for various reasons. It was difficult to obtain permission before his passing, as he was selective and quite pricey. So, when David brought it up about two-and-a-half years ago, I wasn't sure if we could secure the rights due to ongoing settlement matters related to his estate. However, we made attempts to use it in Season 2, but it didn't pan out. Ultimately, while working on the trailers, which I don't usually get involved in, David requested my input. By then, Prince's estate had been resolved, and I had heard that they were open to placing his music. It was a perfect opportunity, and I'm thrilled that the first Prince song I placed was for Our Flag Means Death. It's a song that brings us great joy.

Has there ever been a situation where a song didn't fit in a season or couldn't find a place for it? Or have you ever tried to get your first choice for this show but it couldn't happen for some reason?

PHILLIPS: No, I can't think of any. We haven't had any rejections. In Season 1, we cleared all the big moments before shooting even began. Getting Cat Stevens and Fleetwood Mac was expensive, so we had to make budget cuts elsewhere, but we got everything we wanted. We weren't aiming for the stars that much. In Season 2, it has been easier to get approvals, I must say. Kate Bush in Episode 3 was very specific about being part of it, and she was thrilled about the use of her music. The show is so popular and has a strong audience that people want to be involved, which is very exciting.

Image via Max

When I spoke with David prior to the start of the season, he revealed his ritual of selecting a song that encapsulates the entire season. In the case of this season, he specifically chose Kate Bush's "This Woman's Work." Its significance becomes evident during a crucial moment in Episode 3. I'm curious to know more about the discussions surrounding the inclusion and timing of this particular song.

PHILLIPS: The song and its lyrics were adapted to fit the scene's context. Originally, the song was written for the movie She's Having a Baby, with a completely different subject and lyrical theme in mind. Interestingly, when he mentioned using it, I advised against it for two reasons. Firstly, I had previously used it in The Handmaid's Tale, although I had not actually proposed using it. In that show, I had suggested using "Running Up That Hill," but the showrunner opted for "This Woman's Work." I thought, "That's a bold choice. Some will love it, some will hate it."

More importantly, this was right after the Kate Bush phenomenon in Stranger Things, and I was concerned that we would be seen as copycats without any original ideas. I was worried about facing backlash. However, David knows what he wants, and he firmly believed that this was the perfect song for the moment in our show. Taika also had a strong attachment to the song and wanted to use it. So, ultimately, it became a collaborative effort between Taika and David.

I recall discussing with my team the potential embarrassment of having this song in this spot. However, after watching it and reading the script, I realized that they had sorted out the details of its usage and shooting. I was deeply moved by the outcome, experiencing chills. Immediately, I emailed David to admit that he was right about the song fitting perfectly in that scene. It transformed the song and created a new creative moment, which is what makes this job so amazing. It's rare, but sometimes when you synchronize a song with a picture, both the song and the picture undergo a change, like a magical movie moment. I simply went along with it and had to admit I was wrong.

On the topic of music moments that sent shivers down my spine, Episode 2 featured the Timber Timbre song, "Run for Me," which bookended the episode and was used in two completely different contexts, with different parts of the song. In the beginning, it accompanied Blackbeard's despondency and depression, while at the end, it created a very sinister and dark atmosphere. I am curious about the process behind selecting this song and the decision to use it in such contrasting settings.

PHILLIPS: That was all David. I wish I could take credit for it, but it was actually written in the script. I've been a fan of Timber Timbre for years and have incorporated their music into my work before. Since I've been following their career since the beginning, I immediately recognized the song and read the script with it in mind. No, that brilliance was all thanks to David Jenkins.

Image via Max

How often do you receive scripts from [David] that already include the chosen song?

PHILLIPS: It's uncommon because he usually consults me before writing the script. Usually, he emails me while he's in the writers' room. I'm certain he did so for this one because the song was intricately integrated into the script, and he wouldn't write it without knowing if we can clear it and afford it. Since I am familiar with Timber Timbre and have used their music before, I gave the green light. It would be affordable and easy to obtain permission. In some cases, he might have asked me about other songs, and I would advise against using them. Those might be the only rejections, but they are rare these days. There used to be more restrictions in the past. Nowadays, people want their work to be noticed.

I also love how they included "Strawberry Letter 23" during the wedding raid in the first episode. It creates a powerful contrast between the violence and terror of the moment.

PHILLIPS: This love song has such a sweet and innocent quality to its lyrics, but Shuggie Otis adds swagger, confidence, and a touch of whimsy to it with his strong melody and instrumentation. It was actually on one of my playlists for Season 1, and then [David] decided to include it. The important scenes captured on camera, like the one in Season 1 and Season 2, are always planned during the scriptwriting process. There was never any other song considered for that specific moment; it was always going to be "Strawberry Letter 23."

What is the name of the song playing at the conclusion of the episode when Ed and Stede gaze at the moon and have separate discussions?

PHILLIPS: The song is "Pygmy Love Song" by Francis Bebey. It aims to encapsulate both the agony and the intrinsic elegance of genuine love. It possesses a romantic yet tragic essence, mirroring the love story of Stede and Ed at this particular stage in the narrative.

Image via Max

Additionally, I'm eager to discuss Con [O’Neill]'s rendition of "La Vie en rose" in Episode 6. It's a moment that I believe will greatly enthuse fans. Personally, I had no prior knowledge of his exceptional singing talent!

PHILLIPS: I'm not sure if he was aware of his singing abilities either. The process of obtaining clearance was quite intricate and time-consuming. International clearances, especially those coordinated through the French office, tend to take a long time. Americans are known for their quickness, whether it's beneficial or not, but the French office operates at a slower pace. It took us months to obtain the necessary clearance. At one point, we were worried if we would be able to use it at all.

Furthermore, Con had reservations about singing in general, as it was not something he typically did. On top of that, he felt anxious about singing in French. As a result, we had to modify the clearance. Originally, we intended for it to be in French, but changing it back to English required going through another tedious clearance process. Obtaining approval in English was more challenging, but eventually, we succeeded. However, during the approval waiting period, the actor took it upon himself to learn how to phonetically sing the French version. We recorded both options, but the French version turned out to be incredibly impactful, so we ultimately decided to stick with it for the majority of the content.

I adore that moment. [Con] is an incredibly talented actor. Wow. That episode has such a profound impact, and that song fits perfectly. Sometimes, when you're not professionally trained in singing but you're an actor, you portray the act of singing rather than focusing on the actual auditory performance. This approach brings out more emotional depth. Pitch and technical correctness become less important, and it becomes more about the character who is singing. Especially when the singing occurs as part of a scene rather than for a soundtrack, it serves as a cathartic release and becomes even more emotionally charged. That's why I find [Con]'s rendition so incredibly powerful. Yes, that scene is absolutely amazing.

Do you have a favorite song from Season 1 that you personally connect with?

PHILLIPS: My favorite moment in the show, and a personal triumph for me, was getting Moondog in at the end of the pilot. It was a unique choice that not many people knew about. Another favorite moment was in Season 1, Episode 4, when they meet and the Beach Boys' lesser-known song "Our Prayer" is playing. The end of Episode 5 in Season 1 also stands out to me with the Alessi Brothers' "Seabird" song.

In Season 2, one of my favorite moments is Kate Bush's contribution. It is a special moment that adds to the uniqueness of the show and the story itself. The visual of Stede coming down as a mermaid is absurd yet captivating and powerful. I am constantly amazed at how they pull it off. Additionally, the Fleetwood Mac scene with the shot pulling back of them laying on the ground, with Stede saying "You've come back" and Ed responding "I never left," followed by a wink, is a moment I adore. This show is without a doubt one of my all-time favorites to work on.

Image via HBO Max

Everyone I've talked to about working on this show is having an absolute blast.

PHILLIPS: I consistently praise David because he truly deserves it. The credit goes to the leadership, starting from the top down. David is incredibly creative, collaborative, and genuinely kind, which is a rarity among showrunners/creators. He has the ability to transform the working experience into something enjoyable and fun, despite the hard work involved. It's not easy to motivate people to exert themselves and push their limits, but David achieves it by creating an atmosphere that is both rewarding and enjoyable, rather than relying on strict discipline.

You can stream all episodes of Our Flag Means Death on Max.

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