What if at the end of Breaking Bad they drop Bryan Cranston into witness protection and that’s the beginning of Malcolm In The Middle?
Because we love the show and the show’s music, we’ve put together a Spotify playlist of every* source cue used in Breaking Bad, in order starting with the pilot. As each new episode airs, we’ll add what we can. The choices made by music supervisor Thomas Golubic range from awesome to perfect.
Enjoy!
*available on Spotify
Could not like, reblog and subscribe to this playlist fast enough. Awesome.
Source: thelicenselab
I love their use of distortion and guitar. Distortion in general is one of my biggest tools in the score for Breaking Bad, and obviously there’s a lot of guitar work. I usually use very spare guitar for Jesse, especially early on when he was more innocent. Up until last year, I used some aggressive synthesizers and processed guitars for Gus. And Walt’s evolved over the years from being very naïve and out of his depths to being much more confident. Whether he should be so confident is an open debate, but he is confident and so the music reflects that.
Breaking Bad composer Dave Porter, regarding Silversun Pickups’ Neck of the Woods
Four Albums Influencing the Breaking Bad Score
(via thelicenselab)
Poster: Breaking Bad Season 5 | Vulture
Tomorrow, June 5th, brings the Blu-Ray release of Season 4… so I’ll be a bit busy for the next few weeks, methinks.
Source: vulture.com
Breaking Bad RPG - Why can’t this be real?
I would play the crap out of this.
Awesome.
Source: tomreynolds
Music Supervisor profile — Thomas Golubic
Check out this really great interview (Rollo & Grady, Jan 2011) with music supervisor Thomas Golubic (The Walking Dead, True Blood, Rubicon, Breaking Bad, Six Feet Under).
Here is a pull from the piece:
R&G: Where do you see the music supervision business going in the next five to ten years?
TG: There are a few trends going on. Some are very positive. Some, I think, are a bit negative. Desperate financial circumstances for most music supervisors have been exacerbated by how the studios are treating supervisors in shrinking the budgets to the point of being negligible. A lot of supervisors are beginning to represent catalogs themselves and create their own licensing entities, which I personally think is a conflict of interest and is a really unfortunate development. It means that you can’t really trust that your supervisor is delivering you music that’s really great. It’s delivering music that they could potentially make some money from. I think that’s an unfortunate trend that’s happening and I hope that it comes to an end, but the studios have exacerbated that themselves: They are now purchasing entire libraries and very much putting pressure on supervisors to license from those libraries. There’s really a conflict of interest problem in the entire industry, and the studios are really the ones who I think have in many ways pushed that and created a circumstance where I think the ethical values of the job have been really compromised. I think supervisors are trying their best to survive, so I don’t really blame people for doing it, but I do think that you can’t be a virgin twice. On a more positive side, I think that supervisors are less and less the shills, as it were, of record labels, trying to push products out at people. About ten years ago, if a record label were on board to put a soundtrack out, they would really be putting a lot of pressure on the supervisor to use music from that label, and the supervisor would then put the pressure on the directors to greenlight those songs. I think that’s happening less and less and I think that people are getting more innovative with music. I personally feel like my projects are creatively loose and I have a blessed amount of authority in being able to throw weird ideas out and see how they get saluted. I think that’s happening more and more. There’s definitely a more brave creative energy happening in supervision right now. A lot of that is because I think directors are getting more brave and studios are getting more brave. At the same time, the budgets are getting smaller; in a way sometimes having a lower budget can give you interesting creative avenues, because you can’t afford that Bob Dylan song. Having less money to work with is a great difficulty and a great strain on one level, and on another level it forces people to be a little bit more creative, so it has positive and negative repercussions.
This is clearly one of the most fully realized shows on television; designed to be binged upon, knowing full well that there will be withdrawal when it’s finished and that you’ll be asking for more. It opts for the long-release rather than the short-fuse in terms of storytelling and it pays off HUGELY. What other show makes you afraid of a damn bell? A hat? Of fried chicken? This is to television American dramas what I Love Lucy was to television comedies. This IS one of the most American shows ever made. You couldn’t film it anywhere else, at any other time period, with any other cast. It’s not a ‘perfect’ show by dictionary definition, but it’s a perfect show in every other aspect.
Source: panserbjorner
Breaking Bad, the video game.
unfortunate side effect of loving Breaking Bad
Seeing a Pontiac Aztek on the road and thinking it’s anything other than the ugliest piece of shit to ever be produced by the auto industry.
