The room watched JFK Jr. and Carolyn’s Wedding: The Lost Tapes to get a really feel for the order of operations. Listening to attendees share recollections from the event, we had been struck by the pleasure and reverence and heat that mates and household of the couple nonetheless felt about that weekend greater than 20 years later.
We wished the drama of the marriage ceremony episode to mimic the battle surrounding any marriage ceremony, which is to say the drama of logistics. Who’s sitting the place? Which mates made the reduce for the visitor record? Who’s carrying what? Unlike each different episode of the present, that is the one the place John and Carolyn are in complete lockstep, working as a group to obtain a shared objective. It’s them towards the world. It’s the peak of their romance, when every part appears doable.
The plan was to illustrate this with two moments set to iconic ’90s songs.
Moment one: Their dance to the Pulp track “Common People” at the high of the episode. But there was a snag: When it got here time to clear the music rights, Pulp initially turned us down. We thought of different songs, however none actually labored in addition to the splendidly ironic “Common People,” the lyrics of which describe the polar reverse of John and Carolyn: A working-class boy falling for a fancy lady whose “dad was loaded.” As filming approached, our music supervisor, the uncommonly good Jen Malone, wrote Pulp frontman Jarvis Cocker a love letter about Pulp’s significance to her. We all crossed our fingers. At the final minute, Jen pulled it off: The track was cleared. I liked how director Gillian Robespierre filmed Paul Kelly and Sarah Pidgeon dancing: They look goofy and horny and sleepy and stoned. It made their relationship appear so lived in, like one in all Carolyn’s well-loved Prada coats.
Moment two: the skinny-dipping scene on the seaside. We wished it to really feel like these two had been the solely individuals on Earth, as a result of in that second, for one another, they had been. Given the tabloid frenzy that awaited them at house, we liked the vulnerability and freedom of John and Carolyn skinny-dipping out in the open. Someone might have seen them, however possibly for the final time of their lives, nobody was trying. Initially, the thought was that they’d run into the ocean at evening, and the vignette could be scored to “Nightswimming” by REM. The (much more producible) model that ended up in the present is extra of a daybreak swim. Apparently, it isn’t cheap to illuminate a whole physique of water in the lifeless of evening. Who knew? (Everyone in manufacturing.)
Eric Liebowitz/FX.
