What is “crime jazz”? If you’ve been watching Netflix’s recently released series The Good Cop starring Tony Danza and Josh Groban you might already know. If you haven’t, veteran composer Pat Irwin can fill you in on the meaning of this subgenre below. Irwin, whose impressive resume includes The B52s, Rocko’s Modern Life and Nurse Jackie) also discusses everything from streaming projects to the differences in scoring animation and live action in the below exclusive interview. -How did you get connected with or approached to compose for The Good Cop? What was the initial appeal of the project? The appeal
“The Good Cop” Composer Pat Irwin Discusses His ‘Crime Jazz’ Score for the Hit Netflix Show & More...
“The Good Cop” Composer Pat Irwin Discusses His ‘Crime Jazz’ Score for the Hit Netflix Show & More...
- 10/23/2018
- by Dan Moore
- TVovermind.com
Add the words "and punt" to the end of this football-ish title, and you've got the dire outlook for this lackadaisical story about a struggling writer who goes on a puff assignment to profile an up-and-coming star. Clearly out of its league in the Dramatic Competition section of the Sundance Film Festival, this uninvolving movie is unlikely to attract any attention among the festival circuits.
In this slight piece, writer Pete Barnes (James LeGros) is a hapless, myopic journalist who manages through his dedicated inertia to lose both his job and his girlfriend the same day. Luckily, Pete calls in a favor and lands a cushy assignment to profile a young actor, Spanks Volley (Desmond Harrington), who is off making a low-budget movie. As you all know, there is often not a lot of real openness and easy access on a movie set, and Pete quickly encounters a team of flunkies and obstructionists that would do any AFM company proud. Essentially, Team Spanks wants him only to write what they tell him.
Coincidentally, and this tale is chock full of coincidences, Pete encounters Spanks and finds out Spanks is actually a fan of a book that Pete once did on the NFL, "Drop Back Ten", a kind of "Any Given Sunday" expose about pro football. That this phlegmatic amateur actually wrote a book that annoyed the NFL is only one of many unbelievable things about the film's plot and characters.
In football jargon, writer-director Stacy Cochran's play-calling is haphazard and thin. "Drop Back Ten" never gains any story momentum, and eventually, we don't even care about any of the characters. In the middle of the foray, it heaves a big theme, which its underdeveloped, vacuous storyline cannot support.
With no significant upfront story blocking from Cochran, the players are pretty much left to fend for themselves. LeGros is sympathetic as the low-key journalist, while Tate Donovan stands out as a boisterous flunky.
Technical contributions are a fumble, as well. Cinematographer Spencer Newman's haphazard framings do nothing to invigorate the tale, while Pat Irwin's slushy music only results in a further loss of forward movement.
DROP BACK TEN
E films
a Stacy Cochran Film
Producer-director-screenwriter:Stacy Cochran
Director of photography:Spencer Newman
Editor:Nancy I. Novack
Music:Pat Irwin
Production designer:Lucy W. Corrigan
Associate producer-casting director:Todd Thaler
Supervising producer:Molly Bradford
Co-producer:Andrew Charas
Casting:Todd Thaler
Costumes:Sarah Beers
Color/stereo
Cast:
Pete Barnes:James LeGros
Spanks Volley:Desmond Harrington
Mindy Deal:Amber Valletta
Wally Bixer:Tate Donovan
Tom White:Josh Lucas
Jeanne Siezac:Yvonne Miller
Peggy:Jodie Markell
Running time -- 93 minutes
No MPAA rating...
In this slight piece, writer Pete Barnes (James LeGros) is a hapless, myopic journalist who manages through his dedicated inertia to lose both his job and his girlfriend the same day. Luckily, Pete calls in a favor and lands a cushy assignment to profile a young actor, Spanks Volley (Desmond Harrington), who is off making a low-budget movie. As you all know, there is often not a lot of real openness and easy access on a movie set, and Pete quickly encounters a team of flunkies and obstructionists that would do any AFM company proud. Essentially, Team Spanks wants him only to write what they tell him.
Coincidentally, and this tale is chock full of coincidences, Pete encounters Spanks and finds out Spanks is actually a fan of a book that Pete once did on the NFL, "Drop Back Ten", a kind of "Any Given Sunday" expose about pro football. That this phlegmatic amateur actually wrote a book that annoyed the NFL is only one of many unbelievable things about the film's plot and characters.
In football jargon, writer-director Stacy Cochran's play-calling is haphazard and thin. "Drop Back Ten" never gains any story momentum, and eventually, we don't even care about any of the characters. In the middle of the foray, it heaves a big theme, which its underdeveloped, vacuous storyline cannot support.
With no significant upfront story blocking from Cochran, the players are pretty much left to fend for themselves. LeGros is sympathetic as the low-key journalist, while Tate Donovan stands out as a boisterous flunky.
Technical contributions are a fumble, as well. Cinematographer Spencer Newman's haphazard framings do nothing to invigorate the tale, while Pat Irwin's slushy music only results in a further loss of forward movement.
DROP BACK TEN
E films
a Stacy Cochran Film
Producer-director-screenwriter:Stacy Cochran
Director of photography:Spencer Newman
Editor:Nancy I. Novack
Music:Pat Irwin
Production designer:Lucy W. Corrigan
Associate producer-casting director:Todd Thaler
Supervising producer:Molly Bradford
Co-producer:Andrew Charas
Casting:Todd Thaler
Costumes:Sarah Beers
Color/stereo
Cast:
Pete Barnes:James LeGros
Spanks Volley:Desmond Harrington
Mindy Deal:Amber Valletta
Wally Bixer:Tate Donovan
Tom White:Josh Lucas
Jeanne Siezac:Yvonne Miller
Peggy:Jodie Markell
Running time -- 93 minutes
No MPAA rating...
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