Youthquake Chats with the Music Supervisor for Ted Lasso
Bonus Edition Includes: a Q & A with Tony Von Pervieux, the Music Supervisor for Ted Lasso, a Lasso Playlist Homage, Tribeca Film Announcements, & More
Ted Lasso is a familiar name if you’ve kept up with Youthquake for a while. Despite men in their flop era, Ted Lasso seemed to do the impossible— he became America’s newest and most delightful sweetheart. While the flop era is half in social media jest, the series truly got Americans to watch a show about soccer in England. Call it soccer, footy, or the world’s most beautiful game. Regardless, Ted Lasso enchants viewers worldwide, and part of this captivatingly charming series is the featured music.
Music Supervisors set a scene’s tone, making them memorable and, best of all, evocative. So I made sure to gather my notes and overly prepared questions. In a conversation with Ted Lasso’s co-music supervisor, Tony Von Pervieux. Including some favorite song moments from the series. Get into it below.
Naomi: Did the directors or producers have a specific vision for the series musically?
TVP: Well, it was figuring it out at first, but I mean, Jason [Sudeikis] had a good idea of what type of music he wanted to use. We use a variety of styles and genres of catalog and current. So the first season is always a process of figuring out what works, what song is best for each scene, and one thing that we noted early on was to lean more towards the UK acts, Right? Just because we shoot there and it takes place there, so if we had the opportunity to use a British act, we would use it to fit the scene. We leaned more towards that in figuring out the sound of the show.
N: How did you manage to ‘spot the visuals1’ for the show, finding the moment to place the music?
TVP: Where the song cuts in? N: Yes, exactly.
TVP: So we have a great editorial team, we have a great music editor, so typically when I or when of them (whoever) finds the song to cut in and they essentially send us what we need with the song cut in. At that point, if we need to make amendments to it or suggestions for amendments, we give them that and make those changes. But oftentimes we’ll find the creative or pick the creative and they’ll cut it in and send it to Jason [Sudeikis] and the team of those guys to make the determination of whether or not that’s the song for a scene.
N: Was the process easier since you have the Apple Music catalog?
TVP: We pull from everything. Typically I get pitched music every day; every hour from many different publishers and labels both independent/major, so I’m just pulling from all the material that I have. Sometimes a song will be scripted like the visual vocals of the karaoke scenes. Those are specific songs that Jason [Sudeikis] and the producers want to go for. So in those moments, we’ll clear the songs (permission) and get them the karaoke instrumentals or whatever audio they need.
N: So which song was the most challenging to feature?
TVP: Well challenging in the sense that we first got a (song) denial and we had to go and get that reversed luckily enough (Let it Go from Frozen). You know, the karaoke episode 107 I believe. Essentially what happened was they (Disney) are very particular about the uses of their songs in other shows, especially those that are non-Disney. The producers really wanted to use the song, they felt it’s a great singable song for Rebecca (Welton, played by the fantastic Hannah Waddingham). When we initially sent out the request and it got denied, we just had to keep fighting for it and obviously shoot an alt to the song just in case. But once we had visuals to show them and prove the song was used well, she (Hannah) would sing it and not butcher it, they were able to reverse it. Which was great. N: Yeah it was a great moment in the show, so I’m glad that they were able to say yes. Which was the alternate song, actually?
TVP: [laughs] So the alternate song for that was I Will Survive.
N: Oh, okay, that’s another good song; that’s a good backup.
TVP: Yeah it was good and the viewing audience would’ve never known but these are the things that go on behind the scenes when we’re trying to clear the stuff.
N: It’s fascinating. Is there a track that you’re especially proud to feature?
TVP: There’s a bunch. There are some really cool uses— like I love the Vampire Weekend song [Harmony Hall]— and County Line Runner [Saw You in a Dream] to Celeste [Strange], all those songs that kind of ended the episode. Or ended each of those episodes kind of had like this moment, some were a little darker moments. Some lighter, more inspirational, happier moments. It’s fun using songs when they’re playing soccer— or football, I shouldn’t use that term; when they’re playing football, the Sex Pistols just open it up.
N: Yes! Another great song that leads me to my next question, Danny Rojas’ introduction to Jerk it Out by Caesars. Was that always the song?
TVP: It was at the beginning. Then we tried to see if we could beat it, and it just ended up sticking because it made sense, and Danny Rojas’ character is so funny.
N: He reminds me of every guy I grew up with, I’m Mexican, and I grew up in Texas, so he reminds me of a family member.
TVP: That’s awesome! He’s honestly my favorite character; you know his slogan ‘football is life’ is literally taking on a whole new thing.
N: It’s infectious!
TVP: It is infectious, that’s a good word to use, so the music around him is joyous. He’ll want to sing something with his AirPods on like he’s just always in the moment, so it’s cool, and I hope we get to expand on that in season two.
N: Hopefully. One song I want to mention that is so immersive that an episode is after the Bowie classic, was Diamond Dogs always the choice?
TVP: That’s a good question. So, obviously, being the ‘Diamond Dogs’ episode and forming their team, it was obvious to want to close out the episode with the use of that song. But there was another version of that song that people wanted to use first; it was a Beck version that was done for a film a while ago (Moulin Rouge). The problem was— we’re talking about David Bowie vs. Beck, they’re both incredible artists, but if we’re leaning towards using a British act— but I think the tone of the David Bowie one fit better. I think the Beck one was too somber or too different than what was going on in the scene. Cause she just charged in the door, and the song starts playing right after that. It was a no-brainer for me, and if I could clear it, which I was able to, this is the one we gotta use. It’s Bowie.
N: Was there a song that you were uncertain about but now looking back, glad that it actually worked out?
TVP: Yes. The Edith Piaf [Non, je ne Regrette Rien] at the very end, the last episode 110. We’d tried a bunch of different songs; we were trying to feel out— how do you end the first season on that note? He (Ted) literally spits water on her (Hannah’s) face so you could go a couple of different ways on the creative for sounds for the music— I don’t know whose suggestion it was—
N: It was unexpected? TVP: It was unexpected, and I think that’s why it worked; yeah, that’s why everyone loved it. That was one that was presented; obviously, I know that song, but when I heard it and then saw it cut in the scene so we could all take a look at it— I was like yeah, let’s go with this.
N: It just worked so well!
TVP: Yeah, it’s so kind of random, but it just felt right. So, that’s one I felt shocked in the beginning, but it made complete sense.
N: Was Marcus Mumford’s rendition of You’ll Never Walk Alone always in mind, or was it specifically for Jason [Sudeikis]?
TVP: Yeah, I think he had that one in mind. That song had just come out as part of a charity [to benefit the Grenfell Foundation and War Child UK], so when we were looking at that scene— that was a moment when he really wanted to use Marcus’ song. It made sense because it was a cover and perfect for that moment, such great use. N: Yes, at that moment you hear it, wow.
TVP: Marcus’ vocals are unreal; the cover is so good. Obviously, the song’s been covered a million times.
N: There was something about how he sang it; it just really hit and made it more poignant.
TVP: It made you feel something, and that’s something we’re always aiming to do when we’re trying to find the right song. Season one was all about figuring that element out, like what music we are going towards and what direction really works. A lot of these are songs that I’d listen to, and I get to use catalog like the UK band Nirvana in the first episode. So using rarities or things that I never had a chance to play before worked really well, and Jason’s love of different styles— he loves hip-hop and just— good music. But one thing that’s challenging is they love to write in song lines, where they sing them or speak them, so every once in a while, I’ll have to clear that prior to shooting. They really like to tie in the music side, whether it’s a line or a couple of lines from a song or a nod to a specific song enough to clear— we’ll do that in season two as well.
N: Do you have any ideas or song choices yet for season two; since they’re currently [at the time of interview] filming? Have you seen any footage of season two?
TVP: We’re getting into post [production] now and song choices— I’ve put together— before the season, I typically like to listen through a lot of music and put together playlists and give them to the editors to start listening through for inspiration. Once we start really diving into the episodes in post [production], we’ll start figuring it out; like what songs we really want to focus on or to try to make work in the scene so that Jason [Sudeikis] can obviously go in and say yay or nay. But I got tons of artists that I definitely want to use, especially some catalog stuff that we didn’t use the first season— I don’t think I need to mention any names, but I’d love to use some of the British acts, some of the mega acts that we have not used, but some of their deeper catalogs. N: [laughs] Ok, does it happen to be a group of four gentlemen? 👀
TVP: Possibly. Maybe not. They might be a little bit too expensive. Yeah, they’re definitely on my list. Queen is the other one; if you don’t use a Queen song in this show, at any point in any season, we’ve done an injustice.
N: Don’t Stop Me Now would be very Ted.
TVP: [laughs] Yeah, it’ll depend on when and with who, like who’s the song going to— if it’s for Ted, you’re probably spot on, but I want to go into deeper cuts or songs that they haven’t used before or used much of, or cleared. As we get into it, we’ll start refining these, but we’ll definitely go after The Beatles if we need to.
We’re going to tune in; make sure you do as well. Ted Lasso is streaming now; season two will be available exclusively via Apple Tv+ on July 23.
For your enjoyment and to commemorate this special Ted Lasso edition of Youthquake, I put together a playlist that best represents Ted Lasso and company because I can’t pass up a playlist.
For my fellow Apple Music listeners, HERE. ✨
Here are some decoded song picks of dedication:
The Libertines’ Music When the Lights Go Out = AFC Richmond
The Stone Roses I Wanna Be Adored = Jamie Tart
The Strokes Hard To Explain = Roy Kent
Rina Sawayama Comme des Garçons (Like the Boys) = Keely Jones
St. Vincent’s Digital Witness = Rebecca Welton
Jimmy Eat World The Middle = Nathan Shelly
My Chemical Romance Famous Last Words = Coach Beard
Arctic Monkeys The View from the Afternoon = AFC Richmond
The Flaming Lips Do You Realize? = Sam Obisanya
Albert Hammond, Jr. Everyone Gets a Star = Colin Hughes
The Beatles Tomorrow Never Knows = Leslie Higgins
Ted Lasso:
Kacey Musgraves Biscuits
Noah and The Whale Blue Skies
Beach House Space Song
George Harrison Wah-Wah
Kacey Musgraves Happy & Sad
Lastly, Lady Gaga x Florence Welch’s Hey Girl goes out to the friendship of Rebecca Welton and Keely Jones. More of “Stinky” x Keekee, please.
📢 Cinephiles and film lovers!
The 2021 Tribeca Festival™, presented by AT&T®, announced the World Premiere of its Closing Night film. The untitled Pilot Boy Production documentary is produced by Dave Chappelle and produced and directed by Oscar and Emmy-winning filmmakers Julia Reichert and Steven Bognar (American Factory). The film takes a glimpse into the challenges facing a rural village in Ohio during the early days of the pandemic, the emotions erupting across the nation following the Black Lives Matter movement and the remarkable leadership of the town’s youth who started weekly marches and rallies.
“Premiering our film at Tribeca and closing out the festival at Radio City Music Hall is a big honor. Our film is about courage and resilience, something New Yorkers can relate to,” said Chappelle.
“Dave is our neighbor. We see him in the grocery store, and on the street. When Dave came to us with the idea, we were immediately struck by the challenge to tell the story of our part of the world during the pandemic and the national reckoning on racial injustice. This was a historic moment and we really wanted to chronicle this place and this time, it just felt right.” said Reichert.
“Dave and his friends entrusted our team of amazing young filmmakers from Ohio with intimate moments which enabled us to create a moving portrait of artists' as they navigated a time of fear and isolation,” said Bognar.
The film will premiere at New York City’s iconic Radio City Music Hall on Saturday, June 19, as part of Tribeca’s 12-day celebration to re-open New York and bring live entertainment back to the city.
The 2021 Tribeca Festival™ also announced that in partnership with Roku, Inc., Tribeca X would convene a significant roster of marketing and entertainment leaders to the industry’s first in-person gathering in over 15 months this year’s celebration of brand entertainment. Tribeca Festival also announced the finalists and jury for this year’s Tribeca X Award, which celebrates the year’s best brand and filmmaker collaborations across four categories: Feature Film, Short Film, Episodic Series, and Immersive.
The finalists represent brands from The U.S. Postal Service, Apple Inc., Hewlett-Packard, KitchenAid, IWC Schaffhausen, Square, Dove Hair/Unilever Entertainment, and MongoDB. The selected finalists’ work will be screened online during the Festival from June 9 to June 20.
The winning projects will be chosen by a jury that includes Justine Armour, Chief Creative Officer of Grey; David Bornoff, Head of Consumer Marketing at DoorDash; Morgan Cooper, Filmmaker; and Senain Kheshgi, Co-Founder of MAJORITY.
“This is a critical moment for brands to engage audiences at scale and lean into storytelling in an impactful way. As America’s #1 TV streaming platform, Roku is thrilled to support the creative and filmmaking community at Tribeca X.” said Chris Bruss, Head of Roku Brand Studio.
“New York City is the global epicenter of commerce and entertainment, and Tribeca X is where marketing leaders and innovative creators intersect. As the city re-opens, we are honored to collaborate with some of the most influential marketers this year. Their amazing work, under extraordinary circumstances, reflects how to leverage creative storytelling for change.” said Jane Rosenthal, Co-Founder, and CEO of Tribeca Enterprises and Tribeca Festival.
I’ll be prepping for my Tribeca coverage for the Tribeca Festival™; please, think of me as your virtual triple AAA pass into the 20th anniversary of the film fest.