I loved the arc of his character this last season. He represented for me the collateral damage of all these political bulldogs. Ever since season one, I’ve loved the character of Doug Stamper played by Michael Kelly. There are so many rich characters on the show. Some of my favorite episodes and scenes were directed by Robin. I’m really glad that Robin stepped up as a director over the course of six seasons. There was also Robin’s evolution (Robin Wright who portrays Claire, President of the U.S.). We weren’t as sure of Claire and the layers of her universe. His dark ugly karma left behind something that still reverberated.Īt the same time, it gave us an opportunity to delve more deeply into Claire. But while he wasn’t on the screen, the ghost of Frank Underwood was an important element to bring to the music.
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One of our main protagonists died (Frank Underwood who was written out of the series after harassment allegations surfaced against actor Kevin Spacey). SHOOT: What was (were) the biggest creative challenge(s) posed by House of Cards’ final season?īeal: We had a dramatic problem. It immersed you in the characters, affecting the way these worlds got created which in turn affected the music.
Streaming, though, with House of Cards changed how the audience viewed the show. You could miss five episodes, but the murder would get solved each time while there was a little storyline floating through the episodes. In those early scripts, we get a real sense of who these characters are, the very strange relationship between Frank and Claire (Underwood), a strange, sexy, twisted kind of marriage.Īs a pioneering show, House of Cards unleashed something else-immersive longform storytelling. SHOOT: As you look back on your lengthy tenure on House of Cards from its inception, what stands out for you?īeal: I think of Beau Willimon’s writing. He reflected on the challenges of its final season and his overall experience on the groundbreaking show. SHOOT caught up with Beal to discuss House of Cards. The next year Beal again topped the same category, taking the Emmy for The Company.īeal’s most recent Emmy nomination came last year for Original Main Title theme Music for The Putin Interviews.
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He then won an Original Dramatic Score Emmy in the miniseries, movie or special category for the “Battleground” episode of Nightmares & Dreamscapes: From the Stories of Stephen King. His first Emmy win came back in 2003 for Outstanding Main Title Theme Music for Monk. However, as his 17 career Emmy nods reflects, Beal has fashioned a career that has gone well beyond House of Cards. The connection with Wall and the work on Rome may have also helped put Beal on Fincher’s radar for House of Cards. Additionally John Melfi, an executive producer on Rome, served in the same capacity in the early going for House of Cards. Beal had also collaborated with one of Fincher’s go-to editors, Angus Wall, on Rome, a show for which the composer garnered three Emmy nods-for Original Main Title Theme Music and Original Dramatic Score in 2006, and again for his scoring an episode in 2007. Fincher and Beal had worked once before, on a Motorola phone commercial years earlier. While it didn’t get an immediate response, the music eventually yielded a call from Fincher, putting the wheels in motion for what has become a lengthy fruitful tenure for Beal on House of Cards.įincher set the tone for the series by directing its first two episodes. series, Beal sent executive producer David Fincher some music. Upon hearing about plans to create a U.S. Now once again, Beal is in the Emmy conversation-this time for his work on the Netflix show’s sixth and final season.īeal made a proactive pitch for the House of Cards gig. He has thus far earned four Emmy noms for House of Cards, the first two coming in 2013 and ‘14. Composer Jeff Beal is a 17-time Emmy nominee, winning the honor five times, including twice for Best Original Dramatic Score on House of Cards (in 20).