Latest news with #Innie
Yahoo
25-04-2025
- Entertainment
- Yahoo
Adam Scott Responds to Ben Stiller Agreeing It's a Missed Opportunity He Wasn't Asked to Host ‘SNL'
Adam Scott won't be hosting 'Saturday Night Live' this season (his 'Innie' won't get the chance either), and Ben Stiller thinks that's a shame. But Scott seems willing to take Lorne Michaels' call should there be one for Season 51. 'SNL' on Thursday announced its final three hosts for Season 50, starting with Quinta Brunson, followed by the hosting debut of Walton Goggins, and concluding with Scarlett Johansson. Shortly after the cork board announcement from the show was posted, Stiller responded to a comment saying it was a 'missed opportunity fr' that Scott wasn't among them, simply saying, 'I agree.' More from IndieWire If You Want to Shoot a Documentary in Antarctica, Learn These Tricks from 'Secrets of the Penguin' JD Vance's 'SNL' Body Double Bowen Yang Calls Him a 'Pope Killer': 'Somebody Had to Say It' IndieWire spoke with Scott on the red carpet where he's being honored for the annual Time 100 gala (his old 'Parks and Recreation' co-star Nick Offerman wrote up the blurb naming Scott one of the 100 most influential people of the year). When asked if he was interested in hosting the legendary variety show, Scott said 'Of course. It would be amazing.' ''SNL' is, I think it's hard to argue it's not the greatest show on television because of its longevity and because of its influence on culture,' Scott said. '50 years of really kind of guiding culture in a lot of ways but also reacting to culture at the same time. The cast right now is unbelievable. They're really in one of their peaks, I think. So yeah, of course. It would be amazing.' While 'SNL' lampooned buzzy series and films like 'The White Lotus' and 'Anora' and even brought Oscar winner Mikey Madison on to host, 'Severance' has gotten the short shrift, but we'd love to see what they can do with all the inscrutable goat stuff on the Apple TV+ show. And we'd love to see Scott reunite with 'SNL' great Amy Poehler; we bet she could do a great Harmony Cobel. 'SNL' returns May 3 with the return of Brunson to Studio 8H, and Season 50 concludes on May 17. 'Severance' will also return for a third season after receiving critical praise and dominating streaming charts in its return for Season 2. Check out IndieWire's clip with Scott below. View this post on Instagram A post shared by IndieWire (@indiewire) Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
Yahoo
08-04-2025
- Entertainment
- Yahoo
ODESZA Duo Detail Their Viral ‘Severance' Score Remix, Complete with Goat Sounds and Elevator Easter Eggs
Grammy-nominated EDM artists ODESZA may have seemed like a surprise choice for the now-viral 'Severance' score remix, released earlier this year. And yet, as 'Severance' executive producer and director Ben Stiller tweeted, the pairing almost seems like an Innie fever dream of sonic bliss. Harrison Mills and Clayton Knight, who comprise ODESZA, shockingly had only three weeks to remix Theodore Shapiro's original 'Severance' score for a 23-minute track that was been looped to form an eight-hour piece of music to mirror the standard 9 to 5 workday. The playlist was billed by Apple as being 'designed for eight hours of focus — perfect for your Innie's workday.' The remix was released across all streaming platforms April 4 after first premiering on YouTube. More from IndieWire 'Black Mirror' Creator Charlie Brooker Doesn't Want to Hear Your 'Severance' Comparisons 'The White Lotus' Season 3 Finale: What Worked, What Didn't, and What's Next In a joint interview, Mills and Knight tell IndieWire how the 'Severance' remix was an expansion on their partnerships with Apple, detail incorporating 'corporate' sounds, and why a project like 'Dune' or 'The White Lotus' is their next goal ('The White Lotus' composer did just recently exit after Season 3, so call HBO ASAP). The following interview has been edited and condensed for length and clarity. IndieWire: How did you both first get approached to collaborate with 'Severance'? Harrison Mills and Clayton Knight: We've had a long-standing relationship with Apple. They've supported us over the years by featuring songs like 'Loyal' and 'The Last Goodbye' in their campaigns, so we've stayed in touch. We were just getting back from a long break and were starting to dive into writing new music when Apple reached out with the idea of doing something for 'Severance.' We're huge fans of the show, so we immediately said yes. It ended up being a great way to shake off the dust and get the creative gears turning again. Working within the framework of the show gave us a kind of sandbox to play in. It was a super fast turnaround, like three weeks, but that tight timeline forced us to trust our initial gut reactions to what we were making and not overthink things. We also had the opportunity to collaborate closely with Theodore Shapiro, who really championed us throughout the process. What was the inspiration for the eight hour, work-themed remix? That was actually the original objective from Apple. They approached us with the idea of creating an extended remix of the 'Severance' score that could loop for eight hours. It was originally designed specifically for a YouTube experience, functioning as a soundtrack for your Innie at work. So we approached it with that in mind, but the project ended up morphing into something else very naturally. The remixes are designed to ebb and flow, like a journey through 'Severance.' The YouTube version is a 23-minute loop that plays out over the eight hours, paired with footage from the show and some interludes that really pull you into that world. It wasn't originally intended to listen to on other streaming platforms, but once the YouTube video was released we received a lot of demand for the music, and we knew we had to release it officially on DSPs and on vinyl. As iconic EDM artists, how did you merge your sound with the haunting 'Severance' score? It was definitely a delicate balance, wanting to respect the original while also bringing in our own perspective. We spent a lot of time re-contextualizing certain melodies and motifs, taking elements that felt familiar and giving them a new emotional weight through different chords and textures in the spirit of our music. In some ways, the process reminded us of our early days, where we were sampling a lot and building something new from existing pieces. It felt like a return to that kind of creative exploration, taking parts that would be recognizable, a sound or a melody, and building on top of it, giving it a new life through an alternate lens. Our goal was to bring the warmth and heart that we try to put into all our music, and give the score a more euphoric, rhythm-focused lift while still staying true to the atmosphere of the show. We also found fun ways to incorporate some 'Severance' Easter eggs into the remixes, like goat sounds in the background, elevator dings, typing sound effects…It was really fun and playful overall. How well-versed were you both prior to this? Are you fans of the series? We were already fans before this came up, but once we got involved, we were truly living and breathing 'Severance.' We received the second season before it was live and watched it all in one sitting. It's such a unique, layered show. Getting to contribute to that world was surreal. Will you have any live shows for the 'Severance' remix? It would definitely be fun to find a way to bring parts of the remix into our shows. We're always experimenting with new ways to reinterpret music for the stage, so it's not off the table! What other collabs with film or TV do you want to do next? We'd love to do something in the sci-fi space; something big and synth-driven. Projects like 'Interstellar,' 'Scavengers Reign,' or 'Common Side Effects' really inspire us. The idea of working on something like 'Dune' or 'White Lotus' is also really exhilarating. Best of IndieWire The 17 Best Thrillers Streaming on Netflix in April, from 'Fair Play' to 'Emily the Criminal' Nightmare Film Shoots: The Most Grueling Films Ever Made, from 'Deliverance' to 'Mad Max' to 'Avatar 2' The 47 Best Romance Movies of the 21st Century, from 'High Fidelity' to 'Carol'
Yahoo
21-03-2025
- Entertainment
- Yahoo
Severance's Dichen Lachman Dissects Finale's ‘Heartbreaking' Twist, Season 3 ‘Possibilities' for Gemma — Watch
Warning: This post contains spoilers for Friday's Season 2 finale. Gemma saw her dreams of escaping Lumon come true in Severance's season finale — and then it turned into a nightmare. More from TVLine Severance's Bloody, Brilliant Finale Gives Us Some Long-Awaited Answers - and Another Huge Cliffhanger Severance Renewed for Season 3 at Apple TV+ Harley Quinn Boss Discusses DC Comedy's Future, As Season 5 Finale Serves Up Much Closure Friday's finale ended with Innie Mark helping free Gemma from her time-loop hell on the testing floor and guiding her to an exit door — but instead of joining her, he turned back to stay behind with Helly. His decision made a certain amount of sense to Gemma, though, Dichen Lachman (who plays Gemma) tells TVLine in the video above: 'My feeling was she was piecing together that he had gone through this procedure, because Mark would never do that.' But she's still 'hoping and praying that she can get through to either his Innie or his Outie to come out with her. It's heartbreaking.' (She does concede that it was a 'thrilling' moment for all those viewers rooting for a Mark and Helly romance, 'but one would hope that they're a little bit torn!') Gemma was torn, too, when Mark found her in the Cold Harbor room and convinced her to come with him, even though she was totally severed and didn't know who he was. Why did she trust him, then? 'I think all of the Innies have parts of their Outies,' Lachman theorizes. 'There's things that they feel that they don't quite know how to explain… On some level, all of Gemma's little Innies would probably have this instinct to trust Mark, even though they have no recollection of who he is or their relationship.' So where does Gemma go from here in the just-announced Season 3, now that she's away from Lumon's evil clutches but still without Mark? 'I mean, there are so many possibilities,' Lachman teases, reminding us that Gemma has dozens of Innies that are now left stranded inside Lumon as well. 'I am reluctant, usually, to ask too many questions' of series creator Dan Erickson, she says, but she did ask him about Gemma's Innies, 'and I think Dan just kind of raised his eyebrows at me.' Hmmm… she may be onto something there. Press PLAY above for more inside scoop on the Season 2 finale, and hit the comments to share your thoughts and theories. Best of TVLine Yellowjackets' Tawny Cypress Talks Episode 4's Tai/Van Reunion: 'We're All Worried About Taissa' Vampire Diaries Turns 10: How Real-Life Plot Twists Shaped Everything From the Love Triangle to the Final Death Vampire Diaries' Biggest Twists Revisited (and Explained)
Yahoo
21-03-2025
- Entertainment
- Yahoo
Severance marching band memes are everywhere after the Season 2 finale
Severance dropped its Season 2 finale on Thursday night, answering some questions and creating so many more. The Apple TV+ drama has been captivating fans for 10 episodes as everyone wondered what Innie and Outie Mark (Adam Scott) would do, what Cold Harbor meant, if Gemma would make it, where Dylan was going and what the heck was going on with the dang goats. WARNING: SPOILERS FOR THE SEASON 2 FINALE WILL FOLLOW! Well, we got answers to all of those questions, AND we got a marching band! In the truest Severance fashion, when Innie Mark finished the last four percent of the Cold Harbor file, Lumon celebrated with a bit of Kier animatronic stand up and the aforementioned band. Visually, it was stunning as 200 band members performed for Mark and Helly (Britt Lower) with the incomparable Mr. Milchick (Tramell Tillman) leading the charge. Of course, the internet loved it and turned it into a meme. milchick and the severed floor while everyone else is going through hell 😭 #severance — mich✰ (@cinemichh) March 21, 2025 nobody:mr. milchick this episode:#severance — sage ☾ 🇨🇦 (@counterfetts) March 21, 2025 the concept of an innie whose entire existence is band practice #severance — pool boy at the vampire mansion (@phanbutch) March 21, 2025 mr milchick during the most traumatic moment of innie mark's life — mike from veep (@selinaknope) March 21, 2025 tramell tillman saying 'i gave them a BAND, a got them a 200 piece set band and they STILL didn't appreciate it!' HAS ME WEAK 😭 #severance — mich✰ (@cinemichh) March 21, 2025 Too funny. This article originally appeared on For The Win: Severance marching band memes from Season 2 finale are everywhere
Yahoo
25-02-2025
- Entertainment
- Yahoo
The Sound of ‘Severance' Is Way More Than Office Space
If something has felt increasingly off from the very first reveal of the MDR office at the beginning of 'Severance,' that is entirely by design. But there's an art to crafting invisible unease — and in maintaining that sense of unease as our understanding (well, our wild suspicions) of Lumon Industries has changed over the course of the Apple TV+ series' run. Supervising sound editor Jacob Ribicoff and re-recording mixer Bob Chefalas own a share of the responsibility for the ineffable presence of Woe, Frolic, Dread, and/or Malice inside the walls of Lumon. It is often their emphasis on specific sound design and foley elements that make small mundanities feel so strange and potentially threatening; differences in how music and dialogue play inside the severed floor versus outside of it also contribute to our sense of claustrophobia or the bewildering openness of the outside world. More from IndieWire 4 Oscar-Nominated Cinematographers Analyze Pivotal Scenes from Their Films 'Andor' Season 2 Trailer: Get a Glimpse at Ben Mendelsohn and Forest Whitaker in the Cast So the IndieWire Craft team reached out to Ribicoff and Chefalas to ask them not just for the specific sound cocktail mix that makes the 'Severance' elevator transition between 'Innie' and 'Outie' so visceral — though they were kind enough to give it to us — but a wider view of how they approach sound inside of Lumon, and how they've slowly cranked it up while in conversation with each episode of the Apple TV+ series. This conversation has been edited for length and clarity. IndieWire: Part of what's so wonderfully creepy about Lumon's Severed Floor is there's this really sterile feeling paired with strange, throwback computers/tech that sound very distinctive. How do you approach that balance? Ribicoff: For the kind of background whirr, start-up, and shut down of the computers, I came up with a historic gumbo of computer sounds mixed together and then played very low. For the refining sounds, there were some classic 8-bit beeps and whooshes. For the keypad typing, we were able to have a keypad from the shoot shipped to the Foley house and we continued to record that per episode in sync and matched to production. IndieWire: 'A historic gumbo' feels like a very Lumon approach. If you had to pick one or two, what feelings are most important to get across about the MDR office through sound? Chefalas: Even though the MDR office is a very large empty room, we want it to sound isolated and airless. Very little reverb and quiet enough to hear the sounds of the computers. For the 'Innie' world, a lot of the production movement is replaced with Foley so it can be mixed into the proper environment. IndieWire: Does anything tend to get more emphasized in the Innie or the Outie worlds in terms of the level of atmosphere in the mix, how you approach sound effects, Foley, etc.? Ribicoff: There's no question that the Outie world breathes in full airy, windy, realistic, dynamic surround, whereas the Innie world stays pretty LCR [left-center-right panning] and claustrophobic. But for the 'Innie' world in both seasons, there is a gradual progression towards weirder, more dynamic, surreal environments as each season moves toward conclusion. Chefalas: With the Innie world, we lean on the sound of the Foley very much. Especially in hallway scenes where we had to remove most production footsteps and replace them with Foley. The balance of dry Foley and its reverb would constantly change depending on the location. Ribicoff: One of the really enjoyable and rewarding aspects of working with Ben [Stiller] and his picture editors has been the degree to which they have leaned into and elevated the Foley for storytelling and to underscore the physicality of the characters — like the many wild running sequences through Lumon corridors. Bob used all his best tricks to push footsteps through loud music cues during the mix. Amazing! IndieWire: The mix really does feel like the perfect balance of the music with the physicality of the footsteps. I imagine you have a library full of atmospheric whooshes for the elevator transitions from Innie to Outie, too. Ribicoff: Well, there are basic elevator sounds — doors and motors ascending and descending. There is the 'fritz' sound, which you hear when the character's eyes close and flutter while they are 'transitioning,' which is a combination of high-pitched beeps and sharp static spikes cut in sync. There is the elevator ding, which comes from an airplane alert tone. Then there are suction-type whooshes, which really help with the zolly shots zooming in and out on the characters' faces. That's it. Oh, and sometimes a low-impact hit when the elevator lands at the end of the sequence. No two sequences are quite the same. IndieWire: That's so cool. I'm curious how you think about any difference between what sounds get emphasized when we're in Innie versus Outie mode, especially in places we might not necessarily notice. Chefalas: For the dialogue mix, I tend to favor the boom mics on the Outie world and let the atmosphere and all the movement be heard. With the Innie world, the boom mics can make the rooms sound too large and they need to be carefully dialed in. IndieWire: I'd also love to hear about how you've collaborated across departments throughout the show's two seasons. Do any interesting decisions come out of those conversations? Ribicoff: I mainly worked with Geoff Richmond, the supervising picture editor, and Ben. We had an initial spotting session before Season 1. At the beginning of Season 1, I had the idea that the room tones for different parts of Lumon could be derived from the sounds of breathing, either human, animal, or monster, and could have a swirling quality — because Lumon is like this evil host feeding off the lives of its employees. Ben and Geoff very wisely tempered that idea and said, 'Let's start ordinary and get more surreal strategically as the story unfolds.' Also, they often asked me for a collection of sound effects they could cut with while shaping a given episode before the sound team formally came on. The show is so vividly drawn that some of my best conversations were with the episode itself. Best of IndieWire The 15 Best Thrillers Streaming on Netflix in January, from 'Fair Play' to 'Emily the Criminal' The 25 Best Sci-Fi TV Series of the 21st Century, Ranked The Best Modern Westerns, from 'The Power of the Dog' to 'Killers of the Flower Moon' to 'The Hateful Eight'
