Lead songwriting duo Benj Pasek and Justin Paul, co-writer Michael R. Jackson, and executive music producer Ian Eisendrath discuss the inspirations, challenges, and achievements in creating the music for the show. They highlight the importance of the opening number 'Creatures of the Night', collaborations with Michaels and Sarah Burellis, and the process of creating high-quality music. Plus, they praise Paul Rudd and Martin Short's singing abilities and recommend Audible for captivating mysteries and audiobooks.
The songwriting team drew inspiration from past Broadway shows to create songs that captured the tone and absurdity of the show.
The production of Only Murders in the Building prioritized high-quality recordings and seamlessly integrated pre-recorded songs with live performances.
Collaborating on the musical numbers involved a joy-filled process, with mutual love and admiration between the songwriters and guest artist Sarah Burellis.
Deep dives
The Joy of Collaborating on Only Murders
Benj Pasek and Justin Paul, along with Michael R. Jackson, had the thrilling opportunity to collaborate on the hit show Only Murders in the Building. They eagerly jumped at the chance when they were approached to work on the series and were excited to bring their musical talents to the show. The trio had a joyful and collaborative process, working together in real-time to create the songs for the fictional musical featured in the show. They found inspiration from Broadway shows of the past, aiming to capture the tone and absurdity while also honoring the form. The collaboration was filled with mutual respect and trust, allowing them to freely explore ideas and push each other to create the best songs possible.
Recording and Filming the Musical Numbers
The production of Only Murders in the Building placed a significant emphasis on the music, building a recording studio on set to accommodate the recording process. The team, led by executive music producer Ian Isundrath, aimed for high-quality recordings, ensuring that the music in the show matched the caliber of the rest of the production. The actors' singing abilities both surprised and delighted the team, with standout performances from Brad Garrett and Steve Martin. The pre-recorded songs were used on set during filming, providing a seamless integration of live voice and recorded voice. The entire process was a chaotic adventure, but the team's dedication to excellence and the support of the production made it all possible.
The Fun and Challenges of Collaborating on a Musical
Collaborating on Only Murders in the Building presented unique challenges and exciting opportunities. The team had to navigate the humorous and absurd tone of the show, crafting songs that were both melodramatic and self-aware. The writers drew inspiration from past Broadway shows and relished in the process of finding clever and witty lyrics. Working closely with the cast allowed them to make adjustments and fine-tune the songs to fit each actor's style. The process was filled with laughter and camaraderie, fueled by a shared passion for creating something that was both entertaining and bonkers. The experience was a testament to the power of collaboration and the joy of pushing artistic boundaries.
Collaborating with Sarah Burellis on a Beautiful Lullaby
Sarah Burellis, a respected Broadway artist and pop star, collaborated with us on a melancholy lullaby for the character played by Meryl Streep. We approached Sarah with the idea of writing a song for Only Murders in the Building and she enthusiastically agreed. We found inspiration in Sarah's Broadway career and her ability to capture emotion through her music. The collaboration was a joy-filled process, with mutual love and admiration between us and Sarah.
Challenges and Creativity in Creating the Musical Numbers
Creating the musical numbers for Only Murders in the Building involved a collaborative effort with the cast, crew, and talented artists such as orchestrator August Erickson. We recorded both pre-recorded tracks and live performances, carefully selecting the best moments from each take to create a cohesive and authentic sound. The process involved combining audio recordings, syncing them with the visuals, and ensuring that the songs felt real and connected to the story. It was a challenging yet enjoyable experience, especially in finding the balance between silliness and seriousness that is inherent in musical theater.
Welcome back for Part 2 of our coverage of Episode 10, the season finale! Today, we're talking all about music! We talk with lead songwriting duo Benj Pasek and Justin Paul, plus Michael R. Jackson, who co-wrote For the Sake of a Child with Pasek & Paul. We'll also hear from Executive Music Producer Ian Eisendrath and we'll dive into each of the songs, the inspirations, and the process, and how it all came together in the end.
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