It’s late on a Friday afternoon and because the working week attracts to a detailed, music supervisor Jen Malone is invigorated. The trigger for celebration? An electronic mail she had been ready for simply arrived, marking the final clearance for a music for use within the season finale of HBO’s “Euphoria.”
Malone’s needle drops for the music-heavy collection helped make “Euphoria” a social-media phenomenon, trending on a weekly foundation as two million-plus tune in. These viewers are additionally holding their telephones towards the display screen with the Shazam app open, trying to seize each music.
Malone — who has been nominated for 2 Guild of Music Supervisors Awards, each in the identical class: music supervision for movie budgeted underneath $5 million, for “Malcolm & Marie” and “Zola” (alongside Nicole Weisberg and Mandi Collier) — spends Sunday evenings glued to HBO herself. And in a case of life meets artwork, she was additionally watching her different ear-candy collection, Showtime’s “Yellowjackets,” which is ready partially within the current time, and partially in 1996 New Jersey.
“Each exhibits have a really completely different tone and approach they use music to inform the story,” says Malone, who has positioned such disparate selections as Bo Diddley, Poison and Steely Dan all in the identical episode of “Euphoria,” and artists comparable to Tracy Bonham and Stomach in “Yellowjackets,” which she co-supervises with Whitney Pilzer.
Says Malone: “ ‘Yellowjackets’ is a love letter to the ’90s. I used to be in highschool within the mid-’90s in New Jersey. I used to be actually going again to the mixtapes I had after I was rising up. It was so enjoyable and rewarding to pitch a few of my favourite songs, whether or not it was PJ Harvey or Jane’s Dependancy or Portishead. We haven’t even scratched the floor of the music I wish to put in ‘Yellowjackets’ from that point interval.”
In distinction, for “Euphoria,” Malone has nearly no restrictions, which, at occasions, can show difficult. “The place do I begin? What style? What yr? It’s very overwhelming,” she says. “The enjoyable half is available in if you go down varied music style rabbit holes. We used quite a lot of catalog music this season and have been coping with older era estates. The content material is de facto brutal at occasions, however there’s such a nuance to it and we needed to clarify that to the estates. We’re not utilizing the music disrespectfully, however to assist inform the story, and that it’s in good arms.”
Malone factors to the opening scene of Season 2 for instance: full female and male frontal nudity, medicine, strippers, oral intercourse, substance abuse, all on the similar time, being soundtracked by Billy Swan’s cowl of Elvis Presley’s “Don’t Be Merciless.” These are the descriptions she needed to embody when approaching the King’s property, exercising her public relations abilities — honed through a earlier profession within the music business — to make it sound palatable.
In 2020, Malone gained the GMS Award for music supervision — tv drama, for Season 1 of “Euphoria” (alongside Adam Leber). She acquired an Emmy nomination within the class, too — her second nom, following her work on “Atlanta” in 2018. (The FX collection returns, with Malone on board, in March.)
Earlier than shifting to Los Angeles to pursue music supervision, Malone was washing dishes in a café in Boston. On the age of 30 she started interning, first with Dave Jordan, after which at Viacom for MTV and VH1, the place she was sitting alongside faculty college students. Now, Black & White Music is Malone’s strong, all-female, impartial music supervision firm with credit comparable to “Umbrella Academy,” “King of Staten Island,” “Defending Jacob” and “Kevin Can F**okay Himself.”
“I began from the underside,” says Malone of her trajectory within the business. “I interned, I put in my dues and I figured it out. When I’ve to do one thing on daily basis, I would like it to be one thing I like that’s inspiring and will get me excited.”