Why Ben Stiller Ended Severance With Mel Tormé’s ‘Crazy Drug Trip’

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In “Severance,” the exact year it’s set isn’t specified. Instead, the series mixes old and new technology in an unusual way, featuring a high-tech procedure that separates personal and professional lives alongside antiquated devices like televisions, cars, and phones from various eras. However, Ben Stiller, the director and executive producer, occasionally provides hints about the show’s world, using songs as reference points. For example, he chose “Love Spreads” by The Stone Roses, a song from 1994, which might hold personal significance for him and the creators. Nevertheless, this choice doesn’t help pinpoint the show’s time period, just like the rest of the eclectic soundtrack that spans different genres and decades. The music selection, drawn mostly from Stiller’s Spotify playlist filled with songs he believes fit “Severance,” is somewhat random and not as straightforward as viewers might expect.

In Stiller’s words, “Choosing a song carries significant weight or importance. This is particularly true in a show like ours, where the score plays such a crucial role in setting the tone. The level of scrutiny people give it surprises me, something I never anticipated. I often grapple with it. Therefore, I prefer not to disclose, ‘The song is here for this specific reason. It’s enjoyable to let viewers form their own interpretations and thoughts.

Occasionally, Stiller’s choice of songs for a project was influenced by his fondness for a specific artist. On other occasions, it started with a catchy tune on the radio, which he would add to his playlist, and then consider if a suitable opportunity to use it later presented itself. With the season-two finale of Severance now out, Stiller shared more insights into how he selected six key songs, culminating in a dreamy atmosphere with the final scene of Mark S. and Helly R., portrayed by Adam Scott and Britt Lower, running together through the Lumon corridors. “There are no strict guidelines,” he explains. “It’s always about what feels right.” And this time, Mel Tormé seemed just right for the occasion.

Episode 1: “God Walks Down,” the Allergies

After the chaotic ending of season one, our quartet of colleagues from Lumon return to their workstations, picking up where they left off.

George Drakoulis, our music supervisor, and I go way back. He’s quite discreet. In the first season, I suggested using “Enter Sandman” for Petey’s funeral, thinking it was a long shot. But he casually mentioned that he could contact Metallica to discuss a deal. It turns out he has connections like that. Whenever I need an idea about music, he sends me outstanding playlists.

In episode one, we found ourselves in an unusual situation, attempting to reboot and reassemble the team while tying up loose ends from the last season’s dramatic cliffhanger. The layout of the episode aimed to reunite the group. A unique idea for a continuous 360-degree tracking shot was implemented, capturing the moment when the crew reconnected and resumed their regular work rhythm. At the heart of the series lies the intricate dynamics between these characters – friends collaborating professionally. Coincidentally, an Allergies song popped up on my Spotify playlist, and it seemed to perfectly set the tone for the remainder of the season. With this tune, we’ve returned with optimism and excitement for what’s to come on Severance.

Episode 3: “Eminence Front,” the Who

Mark is being brought back together by Dr. Reghabi, as his recollections from both his inner and outer lives are blending. Moreover, the tune played a significant role during the season-two preview.

I hail from the 70’s and 80’s, and “this” was one of The Who’s most iconic songs following the demise of Keith Moon. My companions and I formed a band, and we may have attempted to cover it. To this day, it remains an exceptional tune for me. It possesses that unique quality where it gradually intensifies before exploding, mirroring our own sequence attempts. When editing a sequence, I often ponder what will make it shine. Is it a score or a song? There’s a collection of tunes I continuously experiment with for specific moments. If I hear a tune in my car that appeals to me, I’ll add it to the playlist designated as “closing song for episode three.

In the opening of “Eminence Front,” there’s that distinctive synthesizer rhythm – da da da da – and it seemed eerily similar to what Dr. Reghabi was doing to Mark in the room. With her array of electronic gear and rehabilitation tools, it gradually blended into that powerful drum beat and fill, giving off a strong burst of energy. It all felt fitting, like everything was building towards Mark sitting up on the table. Then, the lyrics were spot-on. I noticed they used it in the trailer, leading me to think it might be included in the show too. But then I understood, why not use it? Sometimes, finding the perfect song can take months of contemplation or experimenting, and then suddenly, it just clicks. This is one of those instances.

Episode 5: “The Wreck of the Edmund Fitzgerald,” Gordon Lightfoot

An unidentified physician from Lumon hums a tune as they traverse the disconnected flooring, gathering dental instruments along the way, eventually proceeding into a dark corridor.

In one version of episode 7, there was a scene where Dr. Mauer mentioned a song to Gemma while working on her teeth to soothe her, but this scene didn’t make it to the final cut due to editing. Since Gemma is on the testing floor in Severance, questions arise about what information she’s being exposed to and if she retains it. I’m a big fan of Gordon Lightfoot, and I chose “Carefree Highway” as the ending theme for episode 5 of Escape to Dannemora. I believe he was incredibly talented. The documentary about him is also intriguing. Our intention was for this song to serve as a distinctive and eerie motif associated with Dr. Mauer, and we aimed to emphasize that aspect. The details beyond that, you can ponder over.

Episode 6: “Sunshine of Your Love,” Ella Fitzgerald

After an uneasy supper shared with Fields at Burt’s place, I found myself saying my goodbyes and making my way towards my car. As I walked, I could feel Burt’s gaze, heavy with some unspoken emotions, following me.

In this scenario, the choice was never about reusing the Cream version of the song in the movie. When a renowned director like Martin Scorsese incorporates a song into a film, as he did with “Goodfellas,” the song essentially belongs to him, and it cannot be reused again. This episode, at its core, is an exploration of relationships and love.

There was one edit where we considered switching the last two scenes and ending with Mark on the floor having a seizure. However, this would have necessitated a different closing song. Instead, we decided that concluding with Burt, who was lying on the ground, provided a more intriguing finale. The audience already senses that Mark is experiencing something, but it would be absurd for him to die at that moment, considering all the tension surrounding his fate. Ending on Burt allows us to delve deeper into his thoughts and emotions, as these elements will play a role in future scenes. In essence, we opted for a more captivating ending by focusing on Burt’s perspective.

As a fan, I found it intriguing when I discovered that Ella Fitzgerald was singing “Sunshine of Your Love,” a song not typically associated with romance due to its dark and unusual nature. The first time I heard it was in Hawaii, where I was struck by the paradoxical blend of her smooth, melodious voice against the song’s gritty undertones. It felt like an unexpected twist, as if this could serve as a fitting, dark yet romantic theme for a dramatic conclusion.

Episode 8: “Fire Woman,” the Cult

In a rush, Devon contacts Harmony and shares the news that Mark has returned. Eager to hear from him, she asks for a conversation where he can fill her in on all the details as she hastily leaves her old hometown behind. The third episode hinted at Harmony’s unique character, as she was seen listening to “Love Spreads” by the Stone Roses, suggesting a glimpse into her personality.

The main point of the discussion was deciding how to transition smoothly into the next episode’s storyline for this eighth episode. The scene needed to have a distinct, somber atmosphere compared to the rest of the episode. At first, I wondered if it might be too abrupt or intense. However, Cobel, who has been through a lot, really embodied strength and passion after her encounter with Sissy. The song chosen for this scene had a gradual build-up, giving the impression that it was from an earlier time period. I aimed to create a sense of urgency and propel the audience back into the story, preparing them for the final two episodes of the season. Initially, I considered using another Cult song, “She Sells Sanctuary,” but this one seemed more fitting for the current scene due to its energetic vibe.

Episode 10: “The Windmills of Your Mind,” Mel Tormé

Mark S. effectively assists Gemma in breaking free from her Lumon imprisonment. Following a quick internal struggle, he decides not to depart with Gemma but remains indoors with Helly R instead. They dash through the corridors intertwined, and the season concludes with a still image of the pair.

As I grow older, I find myself drawn to the music style of Mel Tormé from that era – simply fantastic! This choice seemed fitting for our show, especially during the climax where it’s like asking, “What will be your swansong?” The season-ending scene often depicted a bleak future with two lovers running towards an uncertain destination. I wanted to contrast this chaotic image with a song that held hope. We decided on slow motion and creating a dreamlike, surreal atmosphere before ending with a freeze-frame. I experimented with “I Got You Babe” by Sonny & Cher, which was intriguing but perhaps too quirky. Another option was “As Tears Go By” by Nancy Sinatra, yet it lacked the thematic connection we were aiming for.

In my opinion, “The Windmills of Your Mind” is quite an unusual number, both in its lyrics and melody. It’s almost like a surreal journey, reminiscent of a psychedelic experience. Frankly, this tune encapsulates the very essence of our show perfectly.

During the editing process, we created a clip that included the final two minutes. I simply played various songs at home, experimenting to see what would resonate. Initially, I thought it might be too unconventional, but I gave it a try and shared it with Theodore Shapiro, our composer. Surprisingly, Teddy responded, “By the way, I hope you keep that Mel Tormé song.” To which I replied, “Indeed, it’s quite remarkable.” Later on, we found “Work Song” by Bobby Darin for the end credits. On the surface, blending one song into another seemed odd, but I was captivated by how seamlessly they complemented each other.

To me, “The Windmills of Your Mind” represents the show’s psychological complexities, raw emotions, and love story. Then, we transition back to the character who goes about his daily routine with “Work Song.

2025-03-21 10:55