History
Alexandra Patsavas, who had previously worked on shows including Roswell High and Carnivàle, was appointed as music supervisor on The O.C.. Patsavas worked alongside creator Josh Schwartz, in selecting the music to be used. In an interview with IGN, Schwartz said that he had "always intended that music be a character on the show" and music was selected in two ways: either it was written into the script or it was selected to suit a scene. Patsavas stated that Schwartz scripted a lot of the music, with some songs being selected before she saw the episode script. For example, for an episode Schwartz had scripted a cover of "Champagne Supernova", got permission from Oasis and collaborated with band Matt Pond PA to write a cover of it for the show. On another occasion Schwartz went to Phantom Planet and asked for a mellow version of California. The reason "California" became the theme to show was because "Josh Schwartz loved the way it worked in a scene in the pilot." At other times they watch the episodes' editors cut and pitch song ideas for specific scenes. Each week Patsavas created a compilation from the new releases sent into the producers, and at times they were being "sent around 400 or 500 CD's a week". Fox and The O.C. made indie rock a "main focus of the series" and also its marketing plan. Christopher Tyng, who composed the theme for Futurama, composed the show's orchestral music which included the ending theme.
Shawn Rogers, Sub Pop's creative director of film and TV licensing, said that the shows choice of music was to "support bands and the style of music that they've been following" adding that artists were willing because "it pays well in comparison to what most indie bands make touring". However, Jimmy Tamborello, producer for The Postal Service, commented that it was just because "we're cheaper". Although exact figures are not known, Les Watkins, a music lawyer from Los Angeles, estimated that "a song by an emerging artist could fetch up to $20,000 or $30,000" and this is jointly split between record label and the songwriter/publisher. He stated that "once lawyers, managers, and the rest of the entourage get their piece, the artist may only see a fraction of the payout."
Read more about this topic: Music On The O.C.
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