One of the first things editor Peggy Tachdjian did when she got the script for “Monsters: The Erik and Lyle Menendez Story” Was Google if the brothers had actually played Milli Vanilli’s “Girl I’m Gonna Miss You” during their parents’ memorial service. They did.
“My first incision off (section” Blame it on the rain “) was actually quite serious and simple. Then, when I worked with Carl Franklin – my director in that section – we decided to loosen some of the moments, go more to the audience and really have the audience to tell us how ridiculous that moment was,” Tachdjian told mewhis to thewrap in a. The moment was, “Tachdjian told Thewrap in a new payout of how I did it, net for net to net. To look at a son who devoted a division song to the mother he murdered was one of the many complicated tonal changes that the team behind” monsters “had to navigate.
The story of the Menendez murder is one of the most famous true crime stories in modern American history. In 1989, Erik and Lyle Menendez shot their parents, José and Kitty. Originally, the brothers told the authorities that the murders were linked to the mob. But the more police who went into the case, the more the cruel truth came forward and the more the public became fixed on these handsome, rich murderers.
According to Tachdjian, it was important for the series co -creator Ryan Murphy that the series captured both the importance of these crimes and Erik’s allegations of sexual abuse and the public’s fascination for these brothers.
“We emphasized an existing style that must be part of the show because performances are really part of what made the Menendez history so interesting,” said composer Julia Newman. “What the show is doing so well, what (tachdjian) really set the tone for was to establish the psychological spectrum, the emotional spectrum we would play with, which was quite large, quite neat and quite dark. It really hit the most intense points for all of these.”
This care was also baked in the series’ music. The second time “Monsters” shows the murders, the scene is accompanied by a low, ominous hum that later becomes the sound track for the series.
“The whole idea was that when you see the boys killing their parents for the second time, it was meant to induce something else,” Julia Newman said.
Thomas Newman, who collaborated with his daughter as a composer in the series, agreed and noted that the sound is supposed to “deepen your sense of the characters, what they are and how far they had to go.”
“It helped you give you the feeling that these characters had a deep hunger for something,” Thomas Newman said.
Julia Newman was responsible for creating the humming tune, which started with playing low fifths on piano. She then recorded herself actually hum, although her intention was for someone to rearrange the song.
“We were like,” don’t touch it, “” reminded Tachdjian.
“It really set the tone for the nature of our collaboration on the rest of the series,” Julia Newman said.
“Monsters: The Lyle and Erik Mernende Story” now flows on Netflix.
