I mean, sometimes I would grab themes that appear by accident and then develop that's, you know, add chords and this and that. So right away, I wanted to meet Mike and then we met and we talked just a little bit. S1: Welcome back to working. In season one, Jennifer Coolidge created a TV character for the ages, a millionaire woman-child with a penchant for high-living and lowly men whose privilege cocooned her from her own hysterical fragility. So I read the script and it was like the best script I've read in a long time. But for listeners like me, what do we need to know about it? I would love to hear you describe your thoughts on procrastinating on a creative project. Um, I'm learning in every project because at some point you realize that, for example, if you send you music and the music, it's it's like a gamble. So, yeah, somehow it became my thing. It's kind of all of these things at once about a group of very privileged, almost entirely white people on vacation at an exclusive Hawaiian resort. If Season 2 is anything like The White Lotus' first installment, we know that all things will be picture-perfect at first before they start to crumble. And it's like every week it became more and more positive and everybody was tripping. Each side is quirky.
And so one of the things Mike White does in the White Lotus' is he opens the show with a coffin in the first five minutes, and you don't know whose coffin it is. It's very fun to watch someone getting food from a buffet while loud drums and shrieking are going on. And all it does is you list the things you wanted to block. It will also be available to stream concurrently on HBO Max.
There are scenes where intentionally you can you almost can't hear the dialogue because the music is that present. So it is a little nerve wracking to have the book out in the world. And then you're simultaneously recording yourself on, I don't know, 10 Balis or whatever. And then at some point they say that maybe they're going to leave the intro of the show without music.
When you're like, well, am I just being a good critic of my own work or am I obsessively getting in my own way here? It's pretty close to that. And a lot of that is actually the music and how it's used. S3: Yeah, I know I know that from writing, too. Justin Richmond is producer and co-host of the music podcast Broken Record with writer Malcolm Gladwell, New York Times editor Bruce Headlam, and music producer—and Def Jam co-founder—Rick Rubin. And I was really surprised when I got the images because he was so beautifully shot. But, you know, how do you handle disagreement with your collaborators? And then you'll listen to and you'll you'll what you'll like, extract a couple minutes of it and then fiddle with it and play other stuff on top of it until it becomes a piece of music. So it's not quite that.
Complex world inaction was a very worthy, but in all honesty, deadly dull documentary show that was on television. That's much harder to pull off a second time for an audience now familiar with your box of tricks. So I guess from now on I'm going to try to keep the mining of juice working fast. And, you know, I am sure there are days when it actually isn't a total delight to jump around a barn playing against your own backing tracks. I think it's one of my favorite things. OK. S2: Yeah, you can operate and then you can add a sound just to punch in one place when you need it. But when I was doing it, it felt OK, that nothing was really in tune. Is that tighter than your usual schedules? She was even more thrilled than I was. I would say that it's inspiring and it's evoking a world.