![]() In the first episodes, we had a comfortable ten days or so. This season, because of the nature of delivering them all in the same day, the nature of writers wanting to write longer, directors want to shoot longer, editors want to edit longer, I’m the last person in the chain. Very often, I might write 50 pieces for an episode. How much music would you write for a given episode? Many shows simply resample music created in the past, but that doesn’t sound like a luxury on a show this intricate. And many episodes share scenes, and there was a decision there - do we want to play the same music to be thematic or are they actually seeing the same thing twice? Do we change it every time we’re in the penthouse or on the dock? It was a combination of those. Often I was working with cuts that were missing scenes. What changed on your end when you reapproached season four?Īll fifteen episodes were interconnected. Thus, the true song of the summer: “Getaway.” We talked to Schwartz about his Emmy-nominated earworms, the Fantastic 4 musical, and what happens when Mitch and the actors start singing songs on set. F,” “You’re a Crook Captain Hook,” and Franklin’s “It Ain’t Easy Being White” all make cameo appearances - but Schwartz also whipped up hundreds of fresh cues to fit an arc that took the Bluths everywhere from Mexico, India, and rehab. Season four has its soundbite callbacks - “Mr. Returning for the Netflix-revived season four was an even more daunting task, thanks to a reworked format and tight shoot. Long hours toiling over creator Mitch Hurwitz’s intricately woven series, finding a unique sound for every moment, layering in stuff to complement the jokes while never overblowing them - it was more like composing a Bluth family opera than a sitcom series. They’re fond and fuzzy memories, but when he talks about them, he sounds like a soldier recounting his time in the trenches. Composer David Schwartz has Arrested Development war stories. ![]()
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