In the realm of television, music plays an indispensable role in shaping narratives, enhancing emotions, and immersing audiences in the story’s world. For anthology series like Paramount+’s acclaimed “Why Women Kill”, the sonic landscape is crucial in establishing the unique atmosphere of each season while maintaining the show’s signature style. At the heart of crafting this auditory experience is the music supervisor. For “Why Women Kill”, that visionary is Jennifer Smith, the founder of Rat Dance Party, who brings a rich understanding of the intricate relationship between music and visual storytelling to the series.
Jennifer Smith’s expertise extends beyond “Why Women Kill”. She is an active member of the music and film community, serving on the Board of the Guild Of Music Supervisors and holding memberships in prestigious organizations like Women In Film, The Television Academy, and The Recording Academy. Her insights into the sonic architecture of “Why Women Kill” offer a fascinating glimpse into the creative process behind one of television’s most stylish and darkly comedic dramas.
This article delves into an insightful interview with Jennifer Smith, exploring her strategies as the music supervisor for season two of “Why Women Kill”. We uncover her collaborative relationship with Emmy-nominated writer Marc Cherry, her favorite musical moments, and the unique challenges she navigated in bringing the series’ 1949 Hollywood setting to life through sound.
Crafting the Sonic Vision for “Why Women Kill”
When asked about her approach to music supervision for “Why Women Kill”, Smith emphasizes the primacy of the showrunner’s vision. “My first approach starts with the showrunner’s vision, not just sonically but also story and character wise,” she explains. This holistic approach ensures that the music is not merely an accompaniment but an integral element that enhances the narrative and character development.
Marc Cherry, the creator of “Why Women Kill”, has a distinctive approach to music. Smith elaborates, “Marc Cherry always has a particular way he likes music to be used. It always has a purpose and a lot of times, it is multi-layered.” This purposeful use of music is a hallmark of the series, where songs are carefully selected and often imbued with deeper meaning, sometimes even becoming thematic motifs or “characters” in their own right.
A prime example is “Claire De Lune” in season two. Smith highlights the importance of choosing the right recording, especially for recurring pieces. “If a song is being repeated or becomes a character like ‘Claire De Lune’ became for season two, it is important that the recording we use also can transform the story or add to the character as the season progresses.” This meticulous attention to detail in music selection underscores the depth and sophistication of the sonic storytelling in “Why Women Kill”.
Memorable Musical Moments from Season Two
Season two of “Why Women Kill”, set in the glamorous yet treacherous world of 1949 Hollywood, offered numerous opportunities for impactful musical moments. Jennifer Smith fondly recalls several episodes, highlighting the diversity of musical styles and their narrative impact.
For Smith, performance-based scenes hold a special appeal. “I am a fan of performances that happen within a scene in a series, having a theater background myself.” Episodes 201 and 204 feature scenes set within a club, where “seven characters singing around a piano” create a dynamic and engaging musical tableau. These scenes not only provide entertainment but also reveal character dynamics and advance the plot.
In contrast to these performance-driven moments, Smith points to a comedic highlight in episode 203: the use of “Dance Of The Knights.” This iconic ballet piece is juxtaposed with the darkly comedic scenario of the main characters plotting and enacting Mrs. Yost’s demise. “We have this beautiful ballet music used in the scene where our main characters ‘hatch a plan’ of Mrs. Yost going on vacation… even though she is buried in their garden.” The ironic pairing of elegant ballet music with macabre events exemplifies the show’s signature dark humor and Smith’s creative approach to music supervision. “The use of this ballet music with the performances of the characters makes me laugh still to this day. It was so fun to think out of the box for this scene and to try different pieces of music and score for the scene.”
The Anthology Approach: Evolving Soundscapes
“Why Women Kill” is an anthology series, with each season presenting a new story, setting, and cast of characters. This format necessitates an evolving musical approach. Smith explains, “Each season of Why Women Kill is new story so the music needs to evolve to the period while still maintaining Marc Cherry’s vision and tone.” The challenge lies in creating a distinct sonic identity for each season that is both unique and recognizably part of the “Why Women Kill” universe. For season two, set in 1949, this meant immersing the soundtrack in the sounds of post-war Hollywood, while still capturing the series’ contemporary sensibility.
A Collaborative Language with Marc Cherry
The synergy between music supervisor and showrunner is paramount in achieving a cohesive sonic vision. Jennifer Smith describes her collaborative process with Marc Cherry, which, remarkably, began and unfolded entirely remotely during the Covid-19 pandemic. “Marc Cherry and I started working together during Covid, so we have never met in person. We had zooms, emails, and calls with the other producers on the show.”
Despite the physical distance, they forged a strong creative partnership. “We created a language of music and we could communicate through that established language. Understanding his point of view and how he listened to music was very important in creating this language and I think our love for theater also helped.” This shared “language of music” allowed them to effectively collaborate on shaping the sonic identity of “Why Women Kill” season two, even amidst the challenges of remote production.
From Theater Kid to Music Supervisor: A Journey in Sound
Jennifer Smith’s path to becoming a sought-after music supervisor is rooted in a lifelong passion for storytelling and sound. “Storytelling has always been part of my bones. I grew up always listening to music and was a theater kid.” This early exposure to both narrative and performance laid the foundation for her career. “I have always loved how music can express story and characters in different ways than acting, writing, directing, etc.”
Smith’s unique perspective is deeply auditory. “I’ve always viewed the world through sound. Even as a kid, when I read a book, I would hear music and sound to create the world and characters before seeing anything in my head.” This innate sensitivity to sound led her to the world of music supervision. Discovering the credit “Music Supervisor” in films sparked her curiosity and set her on her career path.
Her early career began at EMG, where she gained invaluable foundational experience. “I got my first job at EMG out of college as an assistant and learned so much from my colleagues and from reading old licenses, listening to phone calls, and being part of meetings. I am forever grateful for my first job that introduced me to my career and gave me the foundation for my career.”
Old Hollywood cinema also played a significant role in shaping her approach. “I grew up watching old Hollywood movies of all genres with my grandmother. I think those movies helped inspire my approach for the marriage of story and sound.” This early immersion in classic films likely contributed to her success in capturing the 1949 Hollywood aesthetic of “Why Women Kill” season two.
Navigating Challenges in a Pandemic Production
Producing a period drama during the height of the Covid-19 pandemic presented unprecedented challenges for all aspects of filmmaking, including music supervision. Smith recounts the specific hurdles faced during the production of “Why Women Kill” season two. “This show was shot during the height of Covid and it created a lot of curve balls in my job. We had a period show that took place in 1949 Hollywood where we could not have any wind instruments even if they were pantomiming and no live singing.”
These restrictions necessitated creative problem-solving. “We had cameras and pre-records that had to be executed within new protocols and I had to be extremely creative on executing the musical vision with outside added stresses that changed weekly. It was a very difficult season but well worth it.” Despite these obstacles, the team successfully delivered a season that resonated with audiences worldwide, providing much-needed entertainment during uncertain times. “It brought laughter worldwide to fans during these dark and uncertain times and I am extremely proud of this show.”
Recognition and the Television Music Community
As Emmy season approached, Smith reflected on what recognition for her work would mean. “Honestly, to be recognized by the television music community, it would take my breath away and I know I would cry tears of joy. I couldn’t think of a bigger honor than that and to know that my work was applauded by the community.” For Jennifer Smith, recognition from her peers would be the ultimate validation of her dedication and artistry in crafting the sonic landscape of “Why Women Kill”.
Conclusion
Jennifer Smith’s work on “Why Women Kill” exemplifies the crucial role of music supervision in contemporary television. Her deep understanding of storytelling, collaborative spirit, and creative problem-solving skills have been instrumental in shaping the distinctive sonic identity of the series. From the carefully curated soundtrack of season two’s 1949 Hollywood setting to the impactful use of music to enhance comedic and dramatic moments, Smith’s contributions are undeniable. As “Why Women Kill” continues to captivate audiences, the intricate and evocative soundscapes crafted by Jennifer Smith remain a vital ingredient in its enduring appeal.
