CAS Quarterly

Summer 2016

Issue link: https://digital.copcomm.com/i/713016

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N b y K a r o l U r b a n C A S M P S E EXGIRL- FRIEND CRAZY A Dub Stage Case Study: No one saw Crazy Ex-Girlfriend coming, or at least I didn't. It is an historical mashup of genres. A roman- tic dramedy musical delivering a weekly hour of dynamic, surprising shenanigans on The CW. It plays more Unbreakable Kimmy Schmidt or Ally McBeal than its closer genre relative, Glee. Additionally, the music was highly stylized, favoring many popular songs from the '80s and '90s. The plot depicts a high-powered, anxiety-powered lawyer (Rachel Bloom) who, after a chance encoun- ter with her summer camp ex (Vincent Rodriguez III), decides to move to a small California town to garner his affections anew. The show, created by Bloom herself and master scriptwriter Aline Brosh McKenna ( Devil Wears Prada, 27 Dresses), plays like a clever quirky comedy featuring complex inner dia- logue from the main character that often breaks out into song and full music video and musical theater sequences. An unusual format like this carries all kinds of unique workflow implications and sonic considerations. So, I contacted King Soundworks, a sound for picture company with locations in Van Nuys, Burbank, and Santa Monica, and the re-recording mixers of Crazy Ex-Girlfriend, Jonathan Greasley and Eric Offin, to tell us just how things went down on the dub stage: Crazy Ex-Girlfriend publicity shots are courtesy of The CW. Rachel Bloom.

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