Production Sound & Video

Fall 2016

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Page 17 of 39

by Jeff Wexler CAS and Donavan Dear CAS 18 Jeff Wexler: When the call came in for Roadies, I knew I had to do it. I was not available to work on the pilot, which they shot in Vancouver, Canada, as I was on a feature. Showtime gave it the green light for a full season and though I was pretty much semi-retired, I really wanted to do the show. Don Coufal and I have done six movies with Cameron Crowe and Roadies would be Cameron's and my fi rst television episodic. I was a little worried since I had not done any episodic television and heard all the horror stories. But there was no need to worry, Cameron had not developed any of those awful habits, and shooting the fi rst two episodes with Cameron directing was wonderful— just like working on any of the movies with him. It was a bit of an adjustment for me to be doing nine pages a day instead of the one and a half I was used to. Reignwolf as himself in Roadies (season 1, episode 2). Photo: Neal Preston/SHOWTIME ROADiES: A Sound Experience Each episode was to have one or more music scenes and in pre- production, we had lots of dis- cussions about how to do these things—shoot to prerecorded playback tracks, shoot to play- back but live vocals or do it all live. Many of the scenes took the form of impromptu songs per- formed in dressing rooms, hotel rooms, rehearsals, music and di- alog, starting and stopping; the sorts of scenes that are best done live. The fi nal decision was to do all the music live record.

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