A Girl Called Shannon (zimshan) wrote,
A Girl Called Shannon
zimshan

SPN Episode Composer List & Interviews

[I've got a bunch of back posts that have been sitting in a word doc for weeks, which I still need to make, so 'Sorry' in advance, flist, for the subsequent spamming.]

The SPN composers Christopher Lennertz and Jay Gruska share the scoring job, usually alternating every other episode. But since more than once they have disrupted the normal "every-other-episode" scoring schedule, I wanted to create a source list to keep track of the composer on each episode.

SEASON ONE
Lennertz Episodes | Gruska Episodes
101 102
103 104
105 106
107 108
109 ---
110 111
112 113
114 115
116 ----
117 118
119 120
121 122


SEASON TWO

Lennertz Episodes | Gruska Episodes
---- 201
202 203
204 205
206 207
208 209
210 211
212 213
214 215
216 217
--- 218
219 ---
220 221
222 ---



SEASON THREE

Lennertz Episodes | Gruska Episodes
301 302
303 304
305 306
307 308
309 310
--- 311
312 ---
313 314
315 316



SEASON FOUR

Lennertz Episodes | Gruska Episodes
--- 401
402 ---
403 404
--- 405
406 407
408 ---
409 ---
410 411
412 413
414 415
416 417
418 419
--- 420
--- 421
422 ---



SEASON FIVE

Lennertz Episodes | Gruska Episodes
501 502
503 504
505 506
507 508
509 510
--- 511
--- 512
513 514
515 516
517 518
--- ---
--- ---
--- ---
--- ---
--- ---






COMPOSERS SPEAK
Lennertz Interviews:
- Megan's Minions Interviews Lennertz [Wherein he reveals he's a Dean fangirlboy]
- TrackSounds 2008 Interview with Lennertz
- July '07: Winchester Journal Interview with Lennertz
- May '07: Sequential Tart's Interview with Lennertz
- Cinescape.com Interview with Lennertz (includes info on developing the SPN Sound with Jay Gruska, and Cameron Stone, the electric cellist)
- TrackSounds interviews Lennertz
- Scifi.com article on Lennertz's score and Emmy nod
- Ain't It Cool News interviews Lennertz



QUESTIONING THE KRIPKE/SINGER INFLUENCE

The interesting thing I see when looking at the episode list is the aberrations in the regular "every-other-episode" schedule. It's been noted in several interviews that each exec had a composer he wanted to bring in on the project. Kripke brought in Lennertz whom he had worked with for years, while Singer had brought in Gruska who had been his own music man. Both times in season one, Lennertz took on a double shift for an episode depending on more of the MotW scare than the character points, (110 and 117). And in the case of the summer transition, Gruska was given both 122 and 201 for more emotional character situations. So is Singer advocating this? I've noticed, over time Lennertz has become more accepting of expressing sentiment, and started taking on the strings, though still lacking a lot of melody. But still, Gruska seems to get the eps that depend on the sentiment the most because he seems more willing to use strings to express it. But is Singer the reason? Is he the reason Gruska got the finale and the premiere to score? While Kripke was liking more what Lennertz did, but just conceded to Singer’s thoughts. Or is Kripke advocating it too? Why can't they ask this kind of stuff in interviews? Sure no one else would care but I'd be a happy camper. :D




BACK TO THE BIG DAMN SPN S1 SCORE POST
Tags: film/tv scores, music, spn, spn: score, spn: wholeseries
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