Jennifer Smith, the creative force behind Rat Dance Party, boasts a rich and diverse understanding of how music intertwines with film and television. Her expertise spans from music synchronization to music supervision, making her an invaluable asset in bringing narratives to life through sound. As a respected figure in her field, Smith is also a Board Member with the Guild Of Music Supervisors and an active member of organizations such as Women In Film, The Television Academy, and Women In Music, highlighting her commitment to both her craft and her community.
Awards Focus had the opportunity to delve into Smith’s experiences on season two of Paramount’s acclaimed series, Why Women Kill. She offered insights into her collaborative relationship with Emmy-nominated writer Marc Cherry and her approach to crafting the sonic landscape of the show.
Awards Focus: As the music supervisor for Why Women Kill, what strategies do you employ to shape the show’s musical identity?
Jennifer Smith: My process always begins by immersing myself in the showrunner’s vision. It’s not just about the sound; it’s about understanding the story on a fundamental level, grasping the nuances of each character, and the world they inhabit. This deep understanding is crucial because it informs my entire approach to sonic storytelling for Why Women Kill. Marc Cherry, in particular, has a very distinct approach to music. It’s never arbitrary; it’s always purposeful, often adding layers of meaning and subtext to the narrative.
A key element is recognizing when a song transcends its initial scene and becomes a recurring motif, even a character in itself. “Claire De Lune” in season two is a perfect example. When music takes on this kind of significance, it’s vital that the specific recording we choose is capable of evolving alongside the story and deepening our understanding of the characters as the season unfolds. The music must be as dynamic and transformative as the narrative itself in Why Women Kill.
AF: Can you pinpoint a favorite episode or musical moment from this season of Why Women Kill?
Smith: It’s difficult to choose just one, as season two of Why Women Kill was full of compelling moments. However, three episodes stand out for me personally. As someone with a theater background, I’m always drawn to performances that are integrated into the scene itself. Episodes 201 and 204 were particularly rewarding because they featured scenes set within a small club, showcasing seven characters singing around a piano. Creating those musical moments within the diegesis of Why Women Kill was a highlight.
On the comedic side, episode 203 and the use of “Dance Of The Knights” stands out as a truly memorable moment in Why Women Kill. This iconic ballet piece was used to underscore the scene where the main characters are plotting Mrs. Yost’s demise, hilariously framing their dark plan of burying her in the garden with beautiful, dramatic ballet music.
The juxtaposition of the elegant ballet music with the characters’ sinister actions created a comedic effect that still makes me laugh. It was a moment that allowed for real creative freedom, experimenting with different musical pieces and scores to find the perfect, unexpected fit for that particular scene in Why Women Kill.
AF: Given that Why Women Kill is an anthology series, how do you approach maintaining a consistent musical tone across different seasons, each with its own story?
Smith: The anthology nature of Why Women Kill demands that the music evolves with each season, reflecting the new story and time period. While the music must always feel fresh and appropriate to the specific narrative, it’s equally important to ensure it aligns with Marc Cherry’s overarching vision and the show’s inherent tone. It’s a delicate balance – respecting the established musical language of Why Women Kill while allowing each season to have its unique sonic identity.
AF: What is your experience like collaborating with Marc Cherry, the Emmy-winning writer and showrunner behind Why Women Kill?
Smith: My collaboration with Marc Cherry began during Covid, which meant we’ve never actually met in person. Our entire working relationship has been built through Zoom meetings, emails, and calls with the other producers on Why Women Kill. Despite the physical distance, we successfully developed a shared musical language. This musical understanding became our primary mode of communication. Grasping his perspective on music and how he listens to it was crucial in establishing this effective communication. I believe our shared love for theater also played a significant role in forging our creative connection on Why Women Kill.
AF: Could you share a bit about your background and what initially inspired you to pursue music as a career?
Smith: Storytelling has always been deeply ingrained in me. From a young age, I was surrounded by music and immersed myself in theater. I’ve always been fascinated by the unique ways music can enhance storytelling, expressing character and narrative in ways that are distinct from acting, writing, or directing. For Why Women Kill, music is another powerful storytelling tool.
I tend to perceive the world through sound. Even as a child, when reading books, I would instinctively imagine music and soundscapes to create the world and characters in my mind before visualizing anything. I always knew I wanted to work in the entertainment industry. Discovering the credit “Music Supervisor” in films sparked my curiosity.
Initially, I didn’t know much about music supervision or how to break into the field. My first job after college was at EMG as an assistant. This role proved to be incredibly formative. I learned so much from my colleagues, from analyzing old licenses to listening in on phone calls and participating in meetings. I am eternally grateful for that first position, which provided the foundational knowledge and experience for my career as a music supervisor, eventually leading me to projects like Why Women Kill.
AF: Is there a particular film, show, or production that has profoundly inspired your work in music supervision?
Smith: Growing up, I spent a lot of time watching old Hollywood movies across all genres with my grandmother. Those classic films, with their masterful integration of story and sound, profoundly influenced my approach to music supervision. They instilled in me an appreciation for how music can elevate storytelling, a principle I apply to my work on shows like Why Women Kill.
AF: What were some of the biggest challenges you encountered while working on this season of Why Women Kill?
Smith: Filming this season during the height of Covid presented numerous and constantly evolving challenges. Why Women Kill is set in 1949 Hollywood, which introduced specific musical hurdles. We had restrictions on wind instruments, even for pantomiming, and live singing was prohibited.
Implementing camera work and pre-records had to be done within constantly changing safety protocols. This required a high degree of creativity to realize the musical vision while navigating external pressures that shifted weekly. It was undoubtedly a very demanding season of Why Women Kill, but ultimately incredibly rewarding. The show brought laughter to audiences worldwide during a dark and uncertain period, and I am immensely proud to have been a part of it.
AF: With Emmy voting approaching, what would recognition for your work on Why Women Kill mean to you?
Smith: Honestly, recognition from the television music community would be an incredibly moving honor. To have my work acknowledged and applauded by my peers would be overwhelming, likely bringing tears of joy. There’s no greater validation than knowing your work resonates within the community you deeply respect. Emmy recognition would be an absolute dream and a testament to the power of music in storytelling in shows like Why Women Kill.
