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Camille moves forward with her life with the help of the Zeppelin songs Alice introduced to her. At the end of the episode, Camille discovers Alice’s body after she has committed suicide.
Like Alice, Zeppelin became Camille’s escape from the world. There she became friends with her roommate Alice, who constantly played Zeppelin songs on her phone. In flashback scenes, we learn that Camille went to rehab before going back to her hometown at the start of the series. “For many of us, our teen years, without Led Zeppelin those years would have been a whole lot rougher.”Īnd as we learned in the “Fix” episode, the band’s music became an important part of Camille’s life in one of her low points. “I can think of hundreds of others who I can put in a room and say the same thing,” Jacobs said. He felt many watching the show would relate. Vallée made Zeppelin almost another character in the story.Īccording to Jacobs, Vallée wanted Zeppelin in the show because the band’s music got him through the tough times of his youth. In some episodes there may be a faint three-second sampling of a single song, in others there may be a few verses of multiple songs throughout. “Crafting the pitch for me can be three weeks of solid trying to write the right letter,” she said.
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And that led to the first hurdle for Jacobs: how to start the conversation with Warner/Chappel, the publisher of the band’s songs. So she knew that Vallée’s Zeppelin ask clearly wasn’t just to play a song or two in the background of scenes.
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Jacobs has been working with Vallée since his 2014 movie “Wild,” and his love for meaty soundtracks in his work has only become more refined since, as evident in his previous HBO project, the 8-time Emmy-winning “Big Little Lies” (Jacobs won an Emmy for music supervision on the show). “It had to have that depth and honesty.” No begging and pleading allowed “It had to be a band very substantial to be felt across generations,” Jacobs told Business Insider. He wanted the band specifically because Camille’s story needed an epic sound.
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Jacobs said that was the intention Vallée had when he asked her to try to clear Zeppelin long before production began on “Sharp Objects” (typically music supervisors begin working on movies and TV shows toward the end of production or the start of post production). However, the unique guitar sounds of Jimmy Page and howls of Robert Plant feel essential to the story.
The use of Zeppelin is one of the biggest additions Vallée made to his adaptation of Flynn’s novel, as the band is not mentioned at all in the book. Vallée uses moody Zeppelin songs “In the Evening,” “What Is And What Should Never Be,” “Thank You,” and “I Can’t Quit You, Baby” as a way to delve into Camille’s psyche, but the songs are also her escape hatch when things are getting too out of hand, as she plays the music constantly through a beat-up iPhone. However, the assignment brings memories of her troubled past, and matched with her dependency to alcohol, it leads her into a tailspin.
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Simply put: “You never go into Led Zeppelin assuming you’re getting Led Zeppelin,” Jacobs said.īased on Gillian Flynn’s debut novel, “Sharp Objects” follows newspaper journalist Camille Preaker (played by Amy Adams) who returns to her hometown to report on a series of murders. But just because she did it before didn’t mean getting the songs for the show was easy. Russell movies (“The Fighter” and “Silver Linings Playbook”) before her latest collaboration with “Sharp Objects” director Jean-Marc Vallée (“Big Little Lies”). Jacobs is no stranger to clearing Zeppelin. And you can thank the show's veteran music supervisor Susan Jacobs for pulling it off. Recently, Adam McKay’s “The Big Short” was able to get “When the Levee Breaks” in its trailer and the movie’s end credits.īecause Zeppelin needle drops are so hard to come by, it makes the incredible use of the band’s music on the HBO limited series “Sharp Objects” so special. Amy Heckerling’s 1982 classic “Fast Times at Ridgemont High” famously got the band’s okay to use “Kashmir” in one scene (it might have helped that the movie’s screenwriter, Cameron Crowe, used to cover the band for Rolling Stone). For decades, countless filmmakers have abandoned the hope of featuring the music of rock gods Led Zeppelin in their work because the legend is true: It’s really, really hard to get the band to grant permission.īut Zeppelin continues to get requests because when the band does say "yes," the scenes can become iconic.