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Chapter 1: What is the significance of music in This Is Us?
This is a HeadGum Podcast. Ladies and gentlemen, please welcome the host of the hit podcast, That Was Us. Starring Chris Sullivan. Mandy Moore. And my dad, Sterling K. Brown! Ladies and gentlemen, welcome to the Wiltern Theater! And the very first live episode of That Was Us. I feel like... This is cool, man. I feel like this is the dream we had, like, as we were starting the podcast.
We're like, we hadn't even really done an episode. We're like, let's do a live show. Yeah, we've been talking about it for such a long time. Like, wouldn't it be fun? Wouldn't it be so cool if, like, we had people here and, like, they heard us talk and we did something interesting?
Chapter 2: How does the live audience experience enhance the podcast?
And now people are here. They're here. And the pressure is on. You guys, thank you so much for sharing the evening with us. We really appreciate it. Spending your Saturday with us. Yeah, if you're listening to the pod, you're going to get to hear us talk. It's a rewatch podcast, but we're not rewatching a specific episode tonight. We are talking about the musical world. that is This Is Us. Yeah.
Yeah. Yeah, yeah, yeah. We have some guests who are going to come out and talk to us. So should we introduce our guests?
Chapter 3: What role does Siddhartha Khosla play in the show's music?
Let's do it. Yeah. Let's do it. First, we are going to bring out the composer for This Is Us, Siddhartha Khosla. Not only did he do the compositions for This Is Us, he did the compositions for pretty much, I mean, I think Dan Fogelman has been quoted that says, none of my stuff works without him. Yeah. Please welcome Siddhartha Khosla. Thank you. I like hugs. Hugs are warm. Warm hugs. Olaf.
We're hugging like we haven't been sound checking for four hours. Like we haven't just been hanging out. Exactly.
Chapter 4: How did the show's creators choose songs for emotional impact?
We haven't all been like. Oh my God, you're here. Who's next? Who should we bring on next? So the next gentleman that's going to join us today, I get to be the sole lady for the podcast panel. Look at you. This next gentleman is someone near and dear to me personally. Yeah. He's the front man for a band called Dawes. Yeah, he is. I have three children with him.
He's the most talented songwriter, singer, musician on the planet, in my estimation. Mr. Taylor Goldsmith. TG! Listen, last but not least, me and this guy have three kids together.
Chapter 5: What insights do the guests share about their musical influences?
He is my work husband. Pretty close. He's my work husband. We've worked together on two shows in a row. I love him dearly. He has the cutest cheeks in the whole wide world. Please welcome your friend and ours, the creator of This Is Us, Daniel Eric Fogelman. Yeah. Come through. Come through. Come through. Ah, right there, big dog, right there.
Oh, right between me and Sterling, where we like you. Yeah, it's the hot seat. All right, guys.
Chapter 6: How do personal experiences shape songwriting for the guests?
So we brought you all here tonight to discuss the musical... Season seven. No, I'm kidding. Season seven of The Success. All of these people have signed a petition. They will accept a two-part movie. That's good. Like Downton Abbey, I like it. The musical environment of This Is Us became a world unto its own.
Not just the compositions, not just the original songs that were written by these two men down here, not just the musical direction that was kind of fronted by this man, but the totality of the soundtrack. I was listening to all of it as we were preparing for this, and it has... a tone that is full of hope and full of joy and full of love.
And it's the way that we can all continue to get together. Yeah. And catch up. Thanks, sir.
Chapter 7: What are some memorable moments from the live performances?
Thank you for checking us here. So I would like to start with Dan, if we could. Yeah. Yeah, woo, woo it. Woo, woo. It's my dad. Because your musical taste, your musical fingerprint is all over this show. Yeah. Can you? Yeah. Can you please walk us through maybe the pilot, the first couple of episodes, the musical moments, or the artists that you wanted to include that you just knew?
Because I know that you had them in mind as you were writing. Well, because oftentimes, sorry to interrupt, but stuff would be written into the scripts. Like this is the mic drop here, or the needle drop, rather. So it is interesting.
Chapter 8: How do the hosts engage with audience hot takes during the show?
obviously you're a deeply musical person. You're a deep music fan. So I am curious to hear like where that started, where it comes from and how you sort of infuse that in your work. Yeah. Yeah. I mean, ironically, I don't, I'm not sure I have great musical taste. My friends used to make fun of me growing up for my musical taste.
Like I remember when I was a kid, I would say, you know what the best song of all time is? Life is a highway. Right. And my friends would always, my cool friends, you know, you're in high school. You know, you're in high school and your friends are always like, like want to be cool and different. And they would always make fun of me.
And then I wrote the movie Cars and I got Rascal Flatts covered life is a highway. And it became like the coolest. I was like, you see motherfuckers, huh? I know what I'm doing. No, but I think, you know, it's born out of a lot of things. I think I learned a lot about music, actually making the show and how you pick music for a show. But I learned a lot about how you pick music.
I now make playlists on Spotify and keep making them in the course of a year. I send them to Sid a lot and to the editors. The Labi Sifre song that's at the end of the pilot, Watch Me, was one that the directors of the pilot, John and Glenn, had sent to me. They were like, oh, we were thinking about this as a vibe for the show.
And I was like, that's going to be the ending, when the guy starts smoking the cigarette in the hospital room. And I remember... I remember playing it while Milo was shooting that. I was sitting in the back. I was like, guys, isn't it cool? Listen. And Milo was doing a dialogue, and I was playing it on my phone, and everyone was like, shh. The sound guys were shushing me.
But it wasn't because I was a genius. I heard that song. I was like, that's going to be at the end. And that actually, in a weird way, for the needle drop that Mandy's referring to, kind of set the palette. I was like, we're going to use timeless music that kind of could play today. It could play 100 years ago. It could play 100 years from now.
And I just started compiling with our music supervisors like giant banks of songs. And then Sid became the real secret sauce of it. And that was a much longer process for us. The primary mandate then was timelessness. Was there any over overriding sort of objectives besides timelessness that you were thinking about in terms of what you picked for the show? Not really.
I mean, my thing is, like, I've never been able to work in theory a lot. You know what I mean? Like, I want this type of thing or I want it. I just kind of know it when I hear it. Like, Sid is always sending me stuff. I'm like, that's it. But I don't know why. Right? Like, I'm not good that way, I don't think. Right, Sid?
Like, you always, like, Sid always is like, talk to me about what you're thinking. I'm like, I don't know. Like, I don't know. And then he plays something. I'm like, yeah, that's it. That's it. But I don't know how to describe it. Okay. Yeah, normally your direction is figure it out. Yeah, yeah, yeah. I definitely don't like that. It's the most daunting thing to hear too. You're like, okay.
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