But it was only when he heard Brion’s scores for Eternal Sunshine of the Spotless Mind and I Heart Huckabees that he realised that soundtracks didn’t necessarily all have to be lush orchestral epics. Growing up, Julian loved listening to the Back to the Future score as well as John Williams’ iconic soundtracks. It just works with the overall aesthetic and feel.” I feel like the music is another character in the show. We've got a new batch of great songs for season three.
Or sometimes I would extend elements and work more like a music editor. In some cases, I'd add a few strings or other bits of instrumentation that might help to blend it with the score. Then we'd go away and fine-tune those songs. We talk to the editors and figure out where they might work in the script and in the story. Then we get the demos and have a listen to them. Ezra’s approach was to write songs in advance from the script stage. "There's a rawness and an urgency to her music. Her music really embodies what the show is about - that teen angst, that kind of world," he says.
Julian works closely with Furman to make sure the show’s original music is balanced with her tracks along with the commercial hits that are also incorporated on the soundtrack. Some like Love You So Bad and Restless Year were repurposed from her previous albums while others were created especially for the show. The indie musician manages to capture the awkwardness of teenage life in her catchy, anthemic songs. It’s very much an ensemble show so I try to make sure that there's enough overlap between the themes so that I can seamlessly go from one character to another character, and it feels right and not too jarring.”Įzra Furman has also provided music for the past two seasons and is back again for the new series. For the scenes that deal with the older characters, we lean on more traditional instrumentation like pianos and strings. “We use woodwind, saxes, lighter percussion, and more acoustic elements for a lot of the lighter stuff. The key to this was the use of woodwind instruments. In season three, we go to places with the characters that we haven't really necessarily done before in those first two seasons.” I tried to keep the balance between the lighter elements and the more emotional elements that are part of the issues that they're talking about on the show. “The music has to do a lot of jobs,” says Julian. Shame is the overriding feeling that weighs heavy on the students this term either around their bodies or when dealing with social situations Adam (Connor Swindells) is struggling to accept himself as a gay man after coming out in season two, newcomer Cal (Dua Saleh) is trying to come to terms with their body as a non-binary person, and Aimee (Aimee Lou Wood) is still traumatised by a previous sexual assault. The third season sees a new headmistress (Girls star Jemima Kirke) arriving at Moordale, determined to enforce sexual abstinence across the campus. So we've always had those two aspects.”Īs a comedy that deals sensitively with sexuality, body positivity, identity, and class, Sex Education has been a massive hit for the streaming platform. The other reference that we talked about from the beginning was Jon Brion. Then there was also the more indie film kind of sensibility. The director, Ben Taylor, really wanted me to push the synth side this season and start incorporating more of this John Hughes eighties sound into it. “I always get the scripts ahead of time, which helps me to digest where things are going and what might be good to focus on. “The brief for season three was to develop the sound a bit more in the direction that really worked in the first two series,” says Julian.
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The third series returns this week and it’s back with a resounding bang. For the past three years, he’s been scoring Netflix's Sex Education, a hilarious comedy-drama created by Laurie Nunn about a teenager named Otis (Asa Butterfield), who inspired by his therapist mother, Jean (Gillian Anderson), sets up a makeshift sex counselling service at his secondary school Moordale.
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Since then, he has carved out a hugely successful niche for himself as a composer for TV comedies like Catastrophe, Motherland, Plebs, Breeders, and The Duchess.
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