So I thought, I’m gonna be cool because I’m doing the song. So I’m not exactly sure who I should credit for this one, but I got super excited about it because I love the song and my kids love the song. “Many times it’s, sometimes a music supervisor gives ideas. That’s what I love about jazz, the spontaneity.”ĭjawadi doesn’t remember who specifically thought Billie Eilish’s “Bad Guy” would be the right choice for the player piano of the Butterfly Club. It’s nice when the musicians can interpret a melody and embellish. “It had to have a little bit of the freedom of jazz, where you are allowed to improvise a little bit,” he says. And the musicians were encouraged to do as the jazz greats do and riff on the notes. While we get to hear a number of instruments we don’t normally get to hear in typical Westworld scenes, as played by an ensemble of approximately 20 musicians, Djawadi says that he was navigating towards the trumpet as the lead for this new take on the “Sweetwater” theme. There had to be a little bit more of a subtone to it.” And we wanted it to have a bit more of an ominous feel, rather than straight-up fun 1920s jazz. Unlike the first time we heard the “Sweetwater” theme back in the pilot episode, after all, “it’s clear that obviously that this is fake. This was deliberate, he says, because he aimed to capture the surreality of the experience for Caleb as he experiences a Delos park for the first time. Some things are a little bit more filtered.” We mixed it up a little bit - there’s some synth elements, there’s some effects happening there. “So it’s definitely a little bit more… I don’t know if ‘messed up’ is the right word, but it’s not as clean of a pure jazz arrangement as we could have done. “It definitely has the jazz elements, but then we wanted to make sure that it has the Westworld spin in it,” he says. One might think that the version of the “Sweetwater” theme we hear as Caleb and Maeve walk down Main Street is just “the jazz version” of the track, but Djawadi says that it’s a little more complex than that. Meanwhile, in Temperance, Westworld makes good on the promise of last week’s episode, infusing the 1920s Chicago bootlegger scene into classic Delos narratives, with a new cast and (more importantly for our purposes here) a new spin on the original soundtrack. It’s always something that’s nice with a show that runs for several seasons, because you can kind of take your time - you don’t need to establish all the themes right away.” “It’s interesting how sometimes characters get themes and sometimes they don’t - sometimes we add them later. “It was just nice seeing that character again, and then recalling that music from that time,” he says, noting that unlike other music for the show, Akecheta’s themes are “very organic,” without the use of much synth instrumentation.Īs Djawadi adds, Akecheta had music directly connected to his character because of his Season 2 spotlight, but it’s not always a given that a character will have a pre-established theme (as seen last week, with the introduction of a musical motif for Clementine). (as Stubbs puts it) “Robot Heaven,” learning from a consciousness personified by Akecheta (Zahn McClarnon) about the chaos to come that only Bernard may be able to stop.ĭjawadi says that much of the music featured in the opening sequence directly calls back to the show’s previous excursions to the Sublime, not to mention the themes created for Akecheta himself in the Season 2 episode “Kiksuya,” which heavily featured the character. Temperance isn’t the only exotic location visited in “Années Folles,” as the episode opens with Bernard inside the Sublime, a.k.a.
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