"The White Lotus," mused music supervisor Gabe Hilfer in an interview with The Hollywood Reporter about his work on the acclaimed HBO series, "is undoubtedly the visionary creation of Mike White. It serves as his canvas, and we are all mere assistants, striving to bring his vision to life with unwavering precision."
Hilfer, who embarked on this journey during the show's sophomore season, revealed that his primary role as music supervisor is to transport viewers seamlessly into each season's resort milieu. He elaborated that season two bore a "distinctly Italian flair," whereas season three, which concluded its run on Sunday night, was unmistakably Thai. Authenticity, he emphasized, is always paramount, yet understanding the perspective of each season's guests is equally crucial.
"Upon entering The White Lotus, one is fully submerged in its world, and we yearn for the music to be an intrinsic part of that immersion," Hilfer said, acknowledging a prior acquaintance with Thai music due to past collaborations. "I reached out to numerous acquaintances with connections in Thailand, and fortuitously, we unearthed invaluable resources in Bangkok. These individuals, whose primary role revolves around music licensing with Thai artists, proved invaluable."
Given the show's prominent incorporation of Thai musicians' compositions and its inclusion of one of the world's biggest pop stars in its cast, a pressing question arises: Why wasn't Lisa's music featured? Hilfer elucidated, "Having collaborated on numerous projects featuring musicians-turned-actors, I sense a boundary being crossed when their real-life music intersects with their fictional persona. It feels somewhat meta, hearing their tunes while witnessing them on screen in a different role."
He continued, sharing insights into discussions held with Lisa's label, though they never materialized within the show's narrative. "Had she portrayed Lisa vacationing at The White Lotus, it might have served as an endearing nod. But, as she assumes the character of Mook, a distinct role, it might have veered towards self-referential excess," he reasoned, adding, "Undeniably, she is a megastar, and Blackpink is a cultural phenomenon unto itself."
Addressing the fervent online debates among fans, particularly regarding the main title sequence, Hilfer offered his perspective. "The show's popularity is phenomenal, sparking widespread discourse. Popularity attracts more attention, opinions, and scrutiny. If a masterpiece remains unwatched, it garners little comment or critique," he noted.
He further remarked, "When I encounter such feedback – and I'm acutely aware of online conversations – I view it almost as a compliment. It signifies that people are deeply engaged, having loved the show so profoundly that any shift challenges them. Their passion is a testament to its impact."
