‘Hazbin Lodge’s Vivienne Medrano, Sam Haft & Andrew Underberg

After the success of the pilot episode of Hazbin Lodge in 2019, Vivienne Medrano confirmed the potential that an grownup animated musical sequence might provide. A possible that noticed A24 becoming a member of into the animation area, resulting in an eight episode season on Prime Video and a renewal for season 2. Becoming a member of Medrano on the mission are songwriters Sam Haft and Andrew Underberg, who used a number of types of music to provide the sequence a extra musical feeling than the pilot episode.

Hazbin Lodge follows Charlie Morningstar (Erika Henningsen), daughter of Lucifer and princess of Hell, who goals of opening a lodge with the (doubtless unimaginable) purpose of rehabilitating demons to cease Heaven from coming down and culling their inhabitants every year. The Prime sequence takes place one week after the final extermination, when Charlie learns she has much less time to show her plan can work than she thought as Heaven is planning to return sooner. With the story and music so intrinsically tied collectively, Medrano, Haft and Underberg collaborated intently on each tune to ensure every character’s voice was heard within the lyrics.

DEADLINE: Vivienne, you made the pilot for this in 2019, what was the method of turning that right into a full sequence for Prime video?

VIVIENNE MEDRANO: Making the pilot took about two to a few years, and that was a variety of studying. When it was out, it exploded on this enormous manner that I used to be not anticipating and A24 got here into the image they usually actually, actually favored it and had a variety of religion in it. They have been just a little new to the world of animation, so we have been form of in it collectively and it wasn’t till just a little bit later that Amazon got here in, form of in an analogous manner the place they have been very obsessed with it. They noticed the potential in it they usually took the possibility and now it’s out and it’s actually thrilling. I really feel prefer it had an analogous response that the pilot did, which was very cool.

DEADLINE: How intently do the three of you’re employed collectively on writing the songs?

SAM HAFT: Very, very intently. I’d say we spend a variety of time on Zoom and in individual working by each tune task. That is among the issues that does separate this course of from a variety of different assigned skilled songwriting, is that Viv has such a transparent imaginative and prescient of what these musical sequences are. And, to not butter you up, however I believe that is available in an enormous manner from Viv’s actually encyclopedic information of theater and musicals and it comes with a extremely clear sense of the aim that songs ought to serve, plot-wise, character-wise, and what moments every musical sequence must ship. As we work by these songs, we’ve a variety of check-in factors the place it’s, ‘Does this second hit the best way we wish this second to hit? Does this phrasing make this facet of the character clear?’ We’re actually very intently in contact all all through this course of.

ANDREW UNDERBERG: The opposite wonderful a part of the collaboration is Viv clearly is aware of the characters higher than anybody. So, when it comes to the lyrics, there are particular phrases or phrases which will or is probably not of a personality that actually solely Viv might know.

HAFT: And so as to add to that, one thing that’s so completely different in comparison with principally another musical, is that the model of the music will not be one model all through the present. You usually say, “Right here’s this musical, it’s this model of music.” Whereas the types of music are ruled by the characters, and we’ve the liberty to do this as a result of with tv, we don’t should have one orchestra in entrance of a stage the complete time. Every character can actually have their very own orchestra, and people orchestras can mix when these characters have duets. And it’s a extremely fascinating strategy to do style in a musical.

MEDRANO: And simply to cap it off, I work actually intently as a result of, creatively, the present may be very reliant on the music serving a really particular function within the episode. So, me being the pinnacle author as nicely, I’ve a variety of oversight over the entire season and over the entire script. And often my greatest contribution to the music is simply lyrical tweaks. Regardless that I like music and I’m very versed in it, like Sam mentioned, I’m not an precise songwriter. I can’t learn music, I can’t write music. So, it’s a really magical talent to me, however I actually like being concerned within the course of.

DEADLINE: The lyrics have been excellent for every character. I imply, Alex Brightman as Adam simply saying “guitar solo, fuck yeah” in the course of making guitar sounds for “Hell Is Without end”… if that doesn’t simply inform you every little thing a few character in a number of phrases, I don’t know what does.

HAFT: I’ll say, credit score to Alex Brightman. “Guitar solo, fuck yeah” was an in-booth ad-lib. He was initially presupposed to have only a ‘mouth guitar solo’ the place he’s simply making guitar sounds, and the extra we performed with the tune, the extra in character Alex Brightman received. After which he had this take the place he did his “guitar solo, fuck yeah.” And immediately we have been like, “That’s so Adam, there’s no manner we will’t use that take.”

MEDRANO: That was one of the best take, however there was a pair the place it was like he transcended into turning into Jack Black for a second. That was a enjoyable tune. I all the time do not forget that as a result of he received actually into it and sounded full on like a special individual. I cherished it.

DEADLINE: Talking of Alex, what was it like casting the sequence?

MEDRANO: I actually favored the casting course of, as a result of as soon as I discover the voice of my characters, I get very, very connected and I’m comparatively choosy. With this one, there was just a little little bit of complication within the sense that there have been pre-established voices from the pilot, they usually have been very, excellent and really, very iconic. However the greatest issue for the present was the music. It was all the time meant to be a musical. Within the pilot, the singing and the voice appearing have been separate and that was not possible for the sequence. So, we went to the Broadway world for lots of the auditions, and the people who we discovered not solely embody the characters so nicely, however are additionally a few of the most proficient actors that I’ve labored with.

Casting was enjoyable, but in addition a problem as a result of there have been voices that I used to be form of connected to and that the viewers was connected to [from the pilot], and I needed to honor that so it was crucial to me to recreate that for the sequence. However general casting, particularly for brand new characters, has been a extremely enjoyable expertise as a result of auditions convey a lot and generally there’s one thing that I don’t actually count on. For instance, Joel Perez, I didn’t know what I needed for Valentino, however his audition was so in character and so humorous, and simply so nice that it actually turned the character. And he has a variety of means to be versatile in his voice appearing.

DEADLINE: After which whenever you get them within the sales space, what’s it like working with them to get the songs proper? 

HAFT: Properly, we’re additionally lucky that we get to witness a variety of the voice course from the dialogue voice director Richard Horvitz, who is known as a true legend within the subject. It does really feel like a part of it’s we’re getting a masterclass in course from among the best each time we do that, as a result of we’re often coming in on the tail finish of a dialogue session. We’re attending to see Richard do his factor. Generally one or each of us are in individual within the studio with Richard whereas it’s taking place, and that actually has made an amazing distinction in how we direct. However past that, I believe to proceed the considered Alex Brightman and his ad-Libs, an enormous a part of it’s letting the actors have enjoyable with it, as a result of it’s actually, actually obvious when somebody is giving a efficiency whereas they’re having an excellent time. It turns into very infectious, notably with music, so an enormous a part of it’s letting folks have one of the best time they will have whereas additionally delivering the takes that we want.

MEDRANO: It’s actually enjoyable to me as a result of I’m concerned within the VO aspect of the course, however I take a serious backseat within the music often, except there’s one thing I’m very particular about. However the music classes are all the time enjoyable as a result of it’s so cool to listen to them manifest the songs with the actual voices.

DEADLINE: What are a few of your greatest highlights engaged on season certainly one of Hazbin Lodge?

UNDERBERG: Two highlights actually stand out from our recording classes. Our very first file, which was with Erika [Henningsen] for “Completely satisfied Day In Hell”. Nobody actually knew what we have been stepping into.

MEDRANO: That one was particular. I wish to see if in some unspecified time in the future we will launch the primary take she did as a result of it was so stable. I bear in mind me and Richard have been similar to surprised, as a result of it was our first time listening to any of the music dwell and that was a cool feeling. She nearly sang the entire thing, right through, however then the final be aware was so huge and so sizzling that she ran out of air for it. It was a superb first take.

UNDERBERG: After which the opposite, Sam and I typically speak about this, was Blake [Roman]’s final line of “Poison”, the place he simply introduced one thing to it when it comes to having the ability to infuse that uncooked emotion in a manner that his voice breaks in a really real looking manner. I bear in mind getting goosebumps when it occurred.

HAFT: It was such a deal with to start a working relationship with Keith David as nicely, as a result of I believe he was the one solid member that Andrew and I have been form of just a little nervous to work with, and we simply didn’t know what to anticipate. We have been like, ‘Oh my God, it’s Keith David.’ And he got here in for a primary session and we actually needed to make an excellent impression, after which we received an e mail that week that Keith needed to rehearse with us. And after that it was like, ‘Okay, he’s all there.’ There was no separation between we’re crew and he’s solid, all of us simply wish to actually kick ass and present one of the best aspect of ourselves on this present. He was so dedicated to his efficiency and his position and I believe it exhibits. “Loser, Child” is such a spotlight on the soundtrack, and he’s so superb in it.

DEADLINE: How is season two coming alongside?

MEDRANO: I’m actually excited, it’s coming alongside good. Clearly, we will’t converse an excessive amount of to the place it’s at or when it’s at, however I’m extremely pleased with it visually. For songwriting, I believe it’s protected to say that there’s loads extra bangers to return.

HAFT: I don’t wish to name our shot right here, however I do actually suppose we outdid ourselves. I believe season one, there was nonetheless a lot I’m very pleased with, however there was additionally a lot that we have been studying, and I really feel like we’ve taken all of that have and we all know how to do that now in a manner that we don’t must determine it out on the fly. Season two is simply so polished and I’m so pleased with the workforce.