Daisy Jones & The Six
Daisy Jones & The Sixbrought the world of 1970 ’s rock ‘n’ roll to Amazon Prime Video to begin with this twelvemonth and was praised both for its compelling drama and stiff musical performances . The serial is based on a novel of the same name by Taylor Jenkins Reid , which itself was intemperately inspired by the veridical - life journey of ’ 70s icons Fleetwood Mac . Daisy Jones & The Sixwas originally conceived as a miniseries , but the success of the show has potentially opened the doorway for a second season down the bank line .
Music is at the heart ofDaisy Jones & The Six , and the Creator of the show turn to euphony supervisor Frankie Pine to avail maintain authenticity and find the perfect cooperator . Pine is no stranger to the battleground ; she previously worked on ABC’sNashville , another serial that put euphony at the front and center , and brought in top songster to pen its on - screen songs . Pine ’s recent work also includesAre You There God ? It ’s Me , Margaret , andBook Club : The Next Chapter , for each of which she helped put together a blend of songs to create and uphold signature tones .
Related : Daisy Jones & The Six Ending Explained
Frankie Pine spoke withScreen Rantabout her workplace onDaisy Jones & The Six , Are You There God ? It ’s Me , Margaret , andBook Club : The Next Chapter .
Frankie Pine on Daisy Jones & The Six and More
Screen Rant : I was read about your work onDaisy Jones & The Six , and I saw that you got involved before the scripts were even done . Is that typical for a euphony supervisor ?
Frankie Pine : The hope is [ to be involved early ] , because [ that ’s helpful ] if you really are in a blank space where you require to create something stigma new and totally unique , which is what the intention of the project was . [ The process ] was , " Let ’s convey the music executive program on , they can aid us find the executive music producer , and then the executive music producer can then start writing . " That ’s when all the scripts started to kind of occur , so he could kind of get his headspring around what the songs needed to be about , where the placement of all of this stuff [ is ] . The want of every medicine supervisor is that you get in from the very beginning so that you may really facilitate guide everything .
I know there were song titles andlyrics in the bookthat were changed for the serial . Do these change come from the story being adapted in a different way , or is it just easier to start from simoleons in a few places ?
Frankie Pine : I think that there were certain songs , " Honeycomb " for instance , [ where ] we knew that it had to be " Honeycomb " , but the material statute title is " await At Us Now ( Honeycomb ) " . We did n’t want to muffle the ballad maker in any kind of way ; we wanted them to freely be able to write what they felt was appropriate . It ’s a songwriter business , and it ’s a caper [ where ] you may take sealed title or lyrics and be like , " I can spin off of that . " We really wanted our executive medicine producer to have that exemption and not feel so compel that he had to surveil the book now .
You brought in Blake Mills to work on the music . Once you ’ve done that , are you still involved in shepherding the music along the way ?
Frankie Pine : It ’s different on every undertaking , but [ know his experience ] , I did n’t experience the need to be there when Blake was write . He ’s an completed songwriter . There was lots of back and off [ and ] I listen every demo that came in , so my opinion was heard , but I certainly did n’t palpate like I needed to babysit the billet . I felt like we were in really good hands .
As someone who fancy the casting go through the casting summons and music object lesson , was there someone who abide out to you in terms of the amount of work they put into devise for the melodious side of their office ?
Frankie Pine : Josh and Will add up in with probably the most experience . Will was a cycle guitar musician [ but ] he definitely had to put in workplace to learn those lick , especially Blake Mills licks . Blake Mills is one of the good guitar histrion in the mankind , so for Will to have to mime that and play that was [ a feat ] . There was a portion of backbreaking work in there . Josh was a guitar player that had to read bass voice .
But I ’d say Sam ( Clafin ) and Suki ( Waterhouse ) probably had to put in the most work . She did n’t experience how to execute the piano , and Sam certainly did not know how to toy guitar . For the piano clobber , [ with ] movie illusion , it ’s a little bit easy to hide a piano player . You do n’t have the photographic camera go over the top of the keys , you have a pan in front so you ca n’t really see the workforce , and gormandise like that . But Sam was going to be front and midway playacting guitar . Suki started with , like , two hours [ of practice ] every single Clarence Day , and Sam was the same means . [ They did ] two hours every single Clarence Day ; everybody else put in like an hr . All in all , it paid off in the end ; they know how to play these call .
Because I loveNashville , was there anything you learned in working on that show that aid you out in coming to this one ?
Frankie Pine : Yes . I got to meet the wonderful Mike Poole ; he was our sociable on everythingNashville , and he was the guy that really made every pre - record speech sound live . I just knew , coming into this show , that there ’s no way we could do the show without him . I work him in very early . We talk a lot with speech sound , and we talked a lot with the post - production squad , and [ we talked a lot about ] how Mike Poole was move to fit in within this populace of bridging what we did live on set with the pre - record and doing those mixes that really give us that legitimacy . To me , Mike Poole is our authenticity in phone . Meeting him onNashvilleand hang out in the recording studio apartment with him onNashville , it just was like , " Man , I do n’t mean I ’ll ever do another project where I do n’t use Mike as my guy to make everything come across as real and authentic .
I ’d love to ask aboutAre You There God ? It ’s Me , Margaret . There are moments when characters go into the city to see a show , and you ’re like , " Okay , this Sung is happening because the fictitious character chose it , " but when you ’re choose the other songs in the pic , how much do you think about what a graphic symbol ’s melodious taste would be , or how the medicine mull their personality ?
Frankie Pine : It ’s altogether a factor . Whenever I start on something , I immediately make [ playlists ] , like , " Here ’s the Margaret playlist . Here ’s what her mummy would heed to . Here ’s what her dad would listen to . " You desire the music to reflect their personalities . The Joan Baez when [ Barbara is ] pen out Christmas card was what her momma would have listened to . The Stevie Wonder for the dad . We found this great picayune Romance numeral for Grandma . It was all this really neat ' 70s music . What was awesome is that I was finding the song forMargaretat the same time as I was find the songs forDaisy Jones , so I was just in ' 70s heaven for months , listen to ' 70s music . What ’s outstanding is [ that ] I bring forth to apply a circumstances of ' 70s euphony inMargaretthat we did n’t really use a plenty of inDaisy . I really felt like I ran the gamut of the ' 70s during that time point .
Was there any song that you really want for either of those projects that did n’t turn out ?
Frankie Pine : I really , really wanted a Led Zeppelin song [ in Daisy Jones & The Six ] . I found this consummate scene : it ’s the scene where Daisy and Nicky are just having a fire in their hotel room . They ’re doing tons of drugs , but they ’re stand out up and down on the seam . They ’re having a great time ; it ’s just this manic peck of having a nifty sentence . I was very methodical in how to taste to get lead Zeppelin . I told them there were going to be drugs in the scene , and I even said , " It does n’t even need to be the off Sung of Led Zeppelin . Just mail me a list of clobber that you feel might light up . " I played around with a few different songs and ended up find a song , and it work outstanding . It worked smashing , but we had to send the Sung dynasty to the stripe , and the band did n’t like the drugs in the scene , so we were n’t able to utilize it . That was jolly dissatisfactory , but I do it what we ended up with as well .
AndBook Club : The Next Chapterjust came out . I have sex that there ’s an original song that Mary Steenburgen in the pic . Did you have any hand in helping her get collaborators ?
Frankie Pine : She used Caitlyn Smith and Troy Verges , who , of course of study , I know from myNashvilledays . It ’s funny , because I capture a lot of song from Mary when I was working onNashville , so I bonk she was a ballad maker . She ’s very entrenched in that whole songster community in Nashville , so I did n’t have anything to do with who she was writing with . I just kind of get it rolling and did a little remix of it , and was able to get it put at the close of the celluloid .
The soundtrack feel like this America - meets - Italy vibration , which I love . I really enjoy the Italian covers of popular songs . Was there anything that you were really excited about in help oneself put that all together ?
Frankie Pine : The fun one was the Hall & Oates cover , because when you ’re doing a screen or a version from English to Italian , it becomes a different copyright . A lot of artists wo n’t allow anybody to close up on their right of first publication . I went to BMG and I say , " await . There ’s never been a covering of this Sung . Do you opine Hall & Oates would be unforced to do this , and do you have somebody within your world that could make this happen ? " They achieve out to their Italian office and to a gang of other multitude within their world , and had versions made for us , which was awesome . We terminate up using this version that just is fantastic and so much fun .
All the while , we had to have Hall & Oates ' blessing on whatever adaptation we were going to ultimately use . We were so thrilled that they were happy with the cover of their song as well , and it just made it really unique and a special bit of euphony for the film .
What do you have come up ?
Frankie Pine : I ’m puzzle out on a film right now calledThe Idea of Youwith Anne Hathaway and Nick Galatzine . It ’s a tarradiddle of a 40 - year - old woman who falls in love with a extremity of a son band . Savan Kotecha wrote all the original tonic Song for our boy band , I got to put Nick into boy band camp where he had to study how to dance , and he plays guitar in it , and he play pianissimo in it , and dances . It ’s a heavy fun movie , and I love it even more because it ’s kind of my life . I terminate up marrying somebody who was 14 days younger than me , so the fact that this story is being say , I think , is amazing .
About Daisy Jones & The Six
Based on the novel by Taylor Jenkins Reid , Daisy Jones & The Six is an Amazon Prime miniseries about a fancied band go down in the seventies . The original story followed Daisy Jones & The Six as they grew in this fancied timeline in Los Angeles while provide commentary on the 70s euphony scene . The series is broadly based on performances and event surrounding the band Fleetwood Mac .
Daisy Jones & The Sixis streaming now on Amazon Prime Video .
