CRAFT


“I often start between four and six months before the fine cut edit starts properly, in which time I’ve read the scripts, had a chat with the editors and the directors whilst they’re on set and I’m a bit more clued up on the various issues and thoughts about the new material,” he says.


Music as a character


The other major musical factor in Sex Education - a show for which music has been cited as an additional character and story driver - is pop star Ezra Furman, who provides a lot of original songs.


“Me and Matt and Ezra often talk about what she can bring to the table each series and how her songs can develop and what they might score each season,” says Julian.


Shot during Covid 19, Sex Education Sseason three has continued to be a hit for streaming platform Netflix.


The third season sees a new headmistress (Girls star Jemima Kirke) arrive at Moordale, determined to clamp down on campus sex and school scandals. Adam (Connor


Swindells) struggles to accept himself as a gay man, newcomer Cal (Dua Saleh) tries to come to terms with their body as a non-binary person, while Aimee (Aimee Lou Wood) lives with the trauma of a previous sexual assault.


“Season three picks up where Season two finished, so in terms of the score we have a set of themes and tones and a musical language established for various characters,” Julian says. “There are some character themes and there are some more location-based themes. It’s such an ensemble cast, everyone interacts with each other a lot.


I’d scored in other episodes.”


Julian has also had fun writing the music for the school band and the choir. In S3, they tune up to the Peaches’ hit.


AND ISAAC THAT ALLOWED ME THE OPPORTUNITY


TO WRITE A SHIMMERING PIANO PIECE, DIFFERENT TO MUSIC I’D SCORED IN OTHER EPISODES


“There’s a beautiful scene between Maeve and Isaac where they first get together and it was filmed by [episode director] Runyararo Mapfumo in a particular style, differing from previous episodes and series,” says Julian. “That allowed me the opportunity to write a shimmering piano piece, different to music


THERE’S A BEAUTIFUL SCENE BETWEEN MAEVE


“We usually hire a studio the day before the shoot to record the actors and the band and then we make the track up, so they have something to play back on set. Shooting during Covid, there were lots of restrictions on performance, what we could do in the studio, what we could do on set,” Julian sighs. “Especially with choir when people were singing and shouting and stuff, a lot of


masks coming on and off. It definitely made performance more challenging.”


For a professional dealing in rhythm that must have upset it somewhat?


“I’d like to think that you wouldn’t notice that from the final result. Peaches saw it and loved it.”


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