Get to know Veep and Arrested Development composer David Schwartz

David Schwartz speaks to Hidden Remote about composing music for the final season of Veep, Arrested Development and Deadwood.

David Schwartz has composed the music for many of TV fans’ cult favorites. He’s worked on the critically acclaimed comedies Arrested Development and Veep, and showed off his dramatic side creating the theme for Deadwood.

Schwartz, who’s currently working on NBC‘s beloved The Good Place, took time out to speak with Hidden Remote about Veep‘s final season, how he got started in the scoring business, and if he’d be interested in returning if there’s ever a Northern Exposure revival.

Hidden Remote: What about composing appeals to you? Was there something in particular that made David Schwartz want to make music for film and TV?

David Schwartz: A friend of mine, DJ Webster, asked me if I would be interested in scoring his first film. The film was great but it never saw the light of day. After that, I set my sights on film scoring. I come from a family of visual artists, and I loved the way scoring to picture combined the visual and the musical. It still inspires me every day.

HR: You recently scored the last season of Veep. What was it like to work on that, and did you have to treat the music differently since it was the final season?

DS: It was fantastic to get the call. We all thought the music had to sound like Veep. Within that framework, I still had some freedom to express my own musicality.

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HR: A lot of your recent work has been comedies: Veep, The Good Place, Arrested Development. Do you have different considerations scoring comedy than you would drama?

DS: I’m not sure that I think [that] way. I look at the scene in front of me and react musically. I can appreciate both big and small moments.

That said, there’s something about comedy that requires timing and pace. I feel I’ve gotten better at that as I’ve done more and more shows [and] films. I will be doing a drama with Jason Katims and FOX this fall called Not Just Me.

HR: Speaking of Arrested Development, the show famously was brought back on Netflix. How did that affect you as a composer? Was there a re-adjustment period when you revisited that?

DS: I find I’m constantly readjusting and trying to help tell the story musically. Shows like Arrested Development are always morphing and changing themselves as well, so I try to adjust.

Composer David Schwartz. Photo Credit: Courtesy of White Bear PR. /

HR: On a more serious note, people may not know that you also contributed to Deadwood, which just had its reunion movie come out. What was that experience like?

DS: I composed the main title theme for Deadwood. It was nominated for an Emmy and eventually played by the Hollywood Bowl Orchestra. It was a night honoring the great western scores. I am very proud of the theme. Everyone on that show is incredibly passionate, and the show itself is brilliant. I’m excited to see the movie!

HR: There have been rumors of Northern Exposure being revived for years now. If it does come back, would we hear David Schwartz composing the music again?

DS: Yes, the buzz has been coming and going. I hope that there is still a chance of it coming
back. Northern Exposure was my first show, and I was really learning how to compose, flying
by the seat of my pants. It would be interesting composing for a new Northern Exposure now
that I have a great deal of experience. Fingers crossed!

HR: Do you have favorite composers whose work you enjoy listening to?

DS: If I am a fan of a TV show, I am also a fan of the composer and the score. I am a huge fan
of Homeland and Barry. [Homeland composer] Sean Callery and [Barry composer] David Wingo do a great job!

Next. Sherri Chung talks the music of Blindspot. dark

For more interviews from all over the world of TV and film, be sure to check out the Q&A category at Hidden Remote.

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