![]() We made the decision to kick back into the original 'Baba O’Riley' toward the very end of the piece because we wanted to give the trailer that extra push into some of the more menacing aspects of the show. In this case, it’s a high pulse that allows us to start dissolving in and out of some more active shots to promise a sense of danger. We build some extra sounds design on top to let us get darker and more threatening with the visuals. As the music starts to kick into its finale, we look for shots that open up the world and set the tone for the show. Once the music starts to pick up we introduce a little bit of the story, to ground the audience in what they are seeing. The amazing synth line and sparse lyrics in the opening let us move through all our beloved characters in that short amount of time. To sync up the visuals of the show with the music can be a little tricky, as we have a lot of characters we want to get through in a short amount of time. "The cue itself elicits an emotional and wondrous tone that we really wanted to capitalize on. In this case the amazing music provided by John at Confidential was the road map and backbone of the trailer," Finklestein offers. "Once we watch the episodes, Kelly and I sit down and try to figure out what parts of the show will work best with the music. More importantly, the group of friends we've come to know and love over the last two seasons are beginning to see divides in their close relationships as they enter adolescence, explore young love, and generally move on with their lives. Warmer weather has come to Hawkins, Indiana, but the chill of the Upside Down is still on the fringes of the town. In terms of content, the trailer sets the figurative table rather nicely. ![]() The music was actually done first, which means Finklestein was able to edit the footage to the music. As one of the few luckiest fans on the planet, he got to see early cuts of Season 3's episodes, so as to choose some of the best bits for the trailer. Not going over the top with that idea was definitely a balance." I wanted to use corresponding synthetic driving pulses to compliment the original and elevate it into an intriguing dramatic space. BABA ORIELY THE WHO SOFTWAREI write in Logic Pro, complimenting the tools native to that platform, with an array of hard and software synths and effects that’d I’ve accumulated over the years. Using 'Baba O'Riley's distinct synth as a energetic texture in a broader cinematic palette was a lot of fun. After establishing a cinematic base for those elements, I could build on the basic chord structure of the song to ramp up excitement and tension throughout the remix. In this case, the vocals and main arpeggiated synth are undeniably what sets it apart. When I do a remix or a cover, I love to break the track down to the colors and textures, which make that song unique. "My aim in creating the music was to inject a bit more drama and anticipation into The Who’s song while maintaining its excitement and nostalgia. Giving me a look inside his process of making the mix, Hanson explains the following: We also generally check with the label and/or publisher to make sure the artist is okay with having their song remixed before we go to the effort of creating it," continues Gumm. "Confidential had done great work for us in the past on Stranger Things and Adam and Kelly wanted to bring that vibe to the Who song so we asked John if he could take a stab at it…and of course, he knocked it out of the park. ![]() Luckily, the makers behind Stranger Things were very keen on the idea and gave the go-ahead for the music to begin its remixed journey toward becoming a reality. ![]() The idea to use the famous rock song originally came from the mind of the trailer's editor, Adam Finklestein, who ran it by Netflix along with his producer/creative director, Kelly Adelman. " Netflix wanted a song that evoked the feeling of summer, which 'Baba O’Riley' does." "When someone requests a specific remix, I typically brainstorm with the editor and producer as to which composer we think is the best fit for what we’re trying to achieve and then go from there," says Bobby Gumm, VP of Music at Trailer Park. Maisel, Lionsgate's Hellboy reboot, or Warner Bros./Legendary's Pokémon Detective Pikachu. You may have seen their recent work on promos for Amazon's The Marvelous Mrs. The creation of the trailer itself fell onto the shoulders of Trailer Park, a company that specializes in creating trailers for major studio films and television shows. ![]()
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