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We needed Maroon 5 and Kelly Clarkson and all those pop songs to help us tell what Lauren and Kristen were feeling. Maybe every once in a blue moon you’ll hear a male-led song, but we really try to keep the show very female-focused and we try to carry that through in the music as well.Īdam DiVello: Back when we did The Hills, we didn’t have interviews in that show so we had to rely on music to help tell the story. What do you think sets the soundtrack of Selling Sunset apart?ĬH: We definitely lean in to female empowerment and female vocals. Whereas if you’re a show that only has four or five songs, and you’re not fully paying attention, you could miss the songs very easily. If you’re watching and you’re scrolling on your phone, you may miss one song, but you’re going to hear another one in two minutes.
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Why do you think the show’s music has gotten so much attention from fans? Is it just the sheer volume or is there something else?ĬH: I never thought about the volume playing into it, but I think that’s actually a really good point and probably part of it because you really can’t miss it. I think even scripted shows that use a lot of vocals, it’s like five or ten. I can’t think of any other shows that are using this many vocals. That seems like a lot–is that standard for reality TV?ĬH: No, it’s definitely a lot! The only other show I’ve ever done in my whole career that used more licensed music was The Real L Word on Showtime, but that’s mainly because that was an hour long show and this is a half-hour show. How many songs are typically in one episode?ĬH: In one episode, on average, it’s about 15 lyric songs. But other times, when we have just a general transition, we have about 2,000 of those songs that the editors can add at any point. Sometimes we’ll have specific scenes that I’ll work with the editors on to hand pick songs for those scenes. What does the role of music supervisor on Selling Sunset entail?Ĭarrie Hughes: I spend hours and hours listening to a ton of songs for the show and then create big playlists that the editors and story producers can access at any time. To find out more about what went into the creation of this larger-than-life soundtrack, W spoke to Devillo and the show’s music supervisor, Carrie Hughes, about how they managed to so perfectly capture the sound of multi-million dollar real estate and the glamorous women who sell it. But what sets the Selling Sunset soundtrack apart, according to producer Adam DiVello, is that it’s not just a tool for creating continuity, but actually “one of the characters on the show.” That might explain why, when the latest season dropped last month, fans were just as captivated by Selling Sunset’s bubblegum pop laced with uncanny, eerily omniscient lyrics as they were by the tensions mounting on screen between all of the ladies of The Oppenheim Group, the Southern California real estate company where most of the drama unfolds. On many television shows, especially those that fit within the “reality” genre, music is merely filler used to connect one scene to the next.