It’s tragedy, it’s comedy, it’s all of the above. In Season One, it was very much coming up with that voice. How did you first approach this unique combination from a musical standpoint, and embrace both sides of the production? I know fans have lovingly dubbed the show a “traumedy” (a mix of a trauma and a comedy). Season Two was a little bit different, but we still had quite a bit of communication back and forth about how the music went. It was really fun! They’d send me what they’d done, and I’d go over it as a final “qc” pass to make sure that it made musical sense or if it needed something here or a change there. He’d say, send me some more shatters! So, I’d send him some more individual parts like a guitar or bass or piano part. Then, they’d also go in and say, “well, we don’t need all of this here” and they’d just use part of the individual tracks.
#NETFLIX ED EDD AN EDDY FULL#
He and his editor, Sam Thomson, would work with the master, or the full stereo version. I would send him the master stereo mix of the music that I wrote, but I would also send him stems, which are the individual tracks. He’d make some comments, I’d make some changes, and we’d go back and forth like that for a while. The first season of Save Me was really interesting because I would write some music and send it to Fab. When he came up with the idea for Save Me, we had been talking a little bit and started sharing music back and forth.
Fab was even more excited about working together after he saw that. That was cool because the orchestra was actually on stage with the dancers and actors and it was a “sensor around” event. It’s Artistic Director Allyson McMackon’s theatre company, and I’ve done music for them over the years. He saw a production I did in Toronto called Peter and the Wolf with a theatre company called, Theatre Rusticle.
We’d been talking for years about trying to get together on a project. In fact, he’ll be here next week which is very exciting! So, when I go up there, we usually get together, and when he comes to Los Angeles, he hangs out with my wife and I. How did you first get involved with Fab Filippo and composing the score for Save Me?įab and I have been friends for many years. So, before the upcoming season of both shows make their debut, we had the pleasure of speaking with Patric about, new material, experimenting with unique instruments, his love of scoring Hallmark films, and more! Now, working closely with actor Fab Filippo of the hot new CBC “traumedy”, Save Me, as well as creator/producer Dennis Heaton of the popular Netflix horror series, The Order, fans are eager to see what direction Caird’s musical compass will point next. Producing over 400 original scores throughout his career, Caird’s work can be found spanning a variety of genres across not only film, but television, and theatre alike. And as a recipient of numerous accolades including a Genie Award (Canadian Oscar), as well as multiple Leo and SOCAN Music Awards, it’s clear that the skills of this highly decorated Canadian-American talent is in high demand. No matter if you’re a horror buff, a comedy lover, or in the mood for a relaxing summer romance movie, there’s a good chance you’ve come across the work of award-winning composer and musician, Patric Caird.īest known in America for scoring the Cartoon Network animated classic, Ed, Edd n Eddy, Caird has been making waves in the industry for nearly three decades.