Inside the Musical World of Netflix’s A Series of Unfortunate Events, An Interview with Emmy Winning Composer Jim Dooley
In the fascinating world that Netflix’s A Series of Unfortunate Events encompasses, there is little to be happy about. The Baudelaire children spend most their days trying to get adults to take their well-founded fears seriously, as they are tricked, stolen from, and sent to live in filthiest of accommodations. Spearheading this misfortune is the evil Count Olaf, played by Neil Patrick Harris, in hopes of obtaining the Baudelaire’s fortune that was left when their parents perished in a fire. While the show is quite grim, certain components cast a charming ray of hope on the tale, one of those being the show’s score by Emmy winning composer Jim Dooley. Dooley does a great job of pushing the story forward through his melodies that adapt as the book chapters are explored, with new characters and settings for each. We spoke with Dooley about his work on the show more in depth below.
What did you do to prepare for the task of scoring Season 2?
I began by finding new and interesting instruments to record and sample. For example, I spent a day playing through a warehouse full of percussion instruments. I picked out a truckload of my favorites and had them sent to my studio where I performed and recorded them. I find that when you begin with instruments you’ve never used before, you’re automatically on a new path creatively.
There are multiple musical numbers throughout this season with Count Olaf performing instruments and singing. What was your involvement with these?
I didn’t write the songs Count Olaf sings. In the Heimlich Hospital our ‘Volunteers’ go from room to room singing songs to help the sick patients. The idea behind these songs was to create something a bit simple but annoying. I tried to write something like ‘It’s a Small World.’
The Vile Village episode is a straight western at times, especially when Olivia & Jacques first enter the bar. What was your inspiration for this chapter?
For each book in the series, all of our thematic material is reimagined. For The Vile Village, we used the old spaghetti westerns as our inspiration. The challenge that each book presents is one of the best parts of scoring the series.
When the Baudelaires are cleaning the gas station during The Vile Village episode there is a sequence that sounds like whistling in the background. For times like this was that you actually whistling or an instrument?
The whistling was performed live by and old friend of mine. I don’t have the chops to whistle like that.
What is very unique about A Series of Unfortunate Events is every two episodes have a completely different setting and theme. Does this make it difficult to have a cohesive vibe throughout the whole season?
The variety each book provides keeps the show from getting stale. Finding new ways to orchestrate existing thematic material is a great joy as well as a challenge.
Did you use any instruments for this score that you have never played before?
Yes, the Bass Flapamba, Stone Marimba, Guittaron, Amphibiophone and Tuned Anvils are a number of the instruments I have never used before this series.
Netflix has obviously become a powerhouse in the last few years with all of their content. Why do you think viewers have flocked to their projects?
Viewers are more in control of when and where they can consume content. I think everyone can find that attractive, including myself.