The theme mixes Britell’s expertise in classical composition with his background making hip-hop beats, layering the two styles. Then there’s the structure and sonic texture of the music itself. The result: theme music that sounds different, and therefore more memorable. You’re not just a line cook, you’re a chef,” he speculates of Britell’s approach. “It’s a composer’s most ideal situation, because you get to come up with the creative landscape. But Succession has none of that sense of reproduction. Often, TV and film music is initially filled in with what’s called a “temp track,” a placeholder that a composer will then re-produce in what Silverstein calls a “paint-by-numbers” approach. That established background may have provided him important creative leeway. Britell has uncannily captured Succession’s deranged reality in a fresh and original way, says Silverstein, sonically encapsulating the show’s themes.īritell is known for his distinctive film scores: he’s behind the sound of movies like The Big Short, Moonlight and If Beale Street Could Talk. The tracks are taken from the soundtrack for "Le malizie di Venere" (also known as "Devil in the Flesh"), a 1969 Italian film.To understand how - and why - the score has become a cult-favorite composition that may just go down in TV history, in the vein of those from Game of Thrones and Mad Men, TIME turned to former film and TV composer Drew Silverstein, who co-founded the music AI startup Amper Music, and music theorist, psychologist and lecturer Stefanie Acevedo.
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