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Exclusive: interview with music supervisor Gary Calamar (Six Feet Under, Entourage, House, Weeds)

A couple of weeks ago we had a post on some of the new TV shows that will be using music in interesting ways. One of the music supervisors who seems to be quite busy shaping the sound of TV lately is Gary Calamar. Along with stints on Six Feet Under, Dexter, Entourage, Weeds, House, and Las Vegas, he hosts a radio show called The Open Road on KCRW in Los Angeles that can be heard Sunday's from 9pm - midnight.

Obviously he's a busy guy, but we were able to catch up with him and ask him a few questions about his past work and some exciting new projects.

SEEN: What are your thoughts on working for cable shows like Six Feet Under, Dexter, & Weeds compared to working on a network show like Swingtown and House?

GARY CALAMAR: It pretty much depends on the production. The shows that I work(ed)
on that are produced by HBO and Showtime (Six Feet Under, Entourage, Dexter) seem to understand and appreciate the value of music more than most. They are open to letting the producers run the show and allow a healthy music budget. For the most part my experience with the networks is that they have a greater influence over the production, with lot's of people giving notes, etc. It often dilutes the creative vision of the show's creator. But budgets are always a factor at some point.

SEEN: What differences, if any, are there in working for Showtime vs HBO?

GC: They are both great to work for. Most of my interaction is with the producers and showrunners.

SEEN: How has your work been affected by the ongoing writers strike?

GC: Most of the shows I have been working on have come to a grinding halt. House has still had a few shows to finish, so I couldn't completely go on vacation. My fingers are crossed that an agreement will come soon.

SEEN: In a period show like Swingtown which takes place in the 70s, does
the need to use period music make your job easier or harder? Does budget become a
factor?

GC: The studio and producers agree that music is going to be a very big part of Swingtown to help set the scene and tone. Although the budget is not astronomical I think it's a nice budget for this music intensive show. I am looking forward to it and hope to have a lot of fun with the 70's music. My biggest challenge is to find songs that have not already been used to death.

SEEN: On the same note, with a show like "True Blood" where the location of Louisiana has a rich musical history and specific sound, how do you approach a project like that? Do you ever try ideas that might be out of the ordinary and get turned down by producers?

GC: It's a little early to give you much info on this show. As soon as the strike ends I can better answer this question. We are planning on using a lot of music from the region and some blood sucking curveballs as well.

SEEN: On "True Blood" what was the process of defining the sound of the show? Did the producers already have something in mind?

GC: Alan Ball is a big music fan and has a lot of ideas on the sound of the show. I am looking forward to supplementing his vision for the sound of the show.

SEEN: With so many shows on your roster, do you ever find it difficult to manage all of the needs and wants of each specific project?

GC: It can be difficult, but I try and have a good time and not let the pressure get to me. Fortunately many of my shows are spaced out through the year, so they are not all happening simultaneously. I also have an amazing music coordinator, Alyson Vidoli, who helps me keep things from spinning out of control.

SEEN: Do you play any video games?

GC: Never.

SEEN: When you listen to music do you compartmentalize it in your mind for your radio show or a certain supervision project?

GC: Yes. I use iTunes and I'm always throwing songs in different folders for different projects.

SEEN: How often to you go out to shows to check out new music? Or do you find most
new music by listening at home/work?

GC: I only wish I had more time to go to more shows and listen to ALL of the CD's that come my way. I'm closely following the research on cloning and planning on adding a few more Gary Calamar's when the technology is ready.

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