The music in a TV show is often an unsung hero. But it can help shape our mood and our excitement from scene to scene, and season to season.

Composers Ari Posner and Joel Schwartz understand that, and rise to the challenge over and over on the CW’s Sullivan’s Crossing, the juicy and thrilling show starring Chad Michael Murray and Morgan Kohan, which welcomes fans into a world of deception and heartbreak in rural Nova Scotia.

Ari and Joel’s score for Sullivan’s Crossing required a very minimalist and organic approach. While the occasional action sequence demands a great deal of tension, the sound of the show is primarily made up of soothing piano, pads, and strings.

Showrunner Roma Roth’s keyword for the composing duo was “melancholic.”

I was excited to sit down with them here to talk about their work on this show.

Let’s dive into the interview.

Editor’s Note: the following interview is edited for length and clarity.

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NO FILM SCHOOL: Hey Ari and Joel! Can you describe your collaborative process? How did you balance your individual strengths while working together on the score?

Ari Posner: Though Joel and I spend most of the writing time in our separate studios, we do spend a considerable amount of effort planning the score for each episode after a very detailed spotting session. These days, we are usually spotting each episode with our showrunner Roma Roth over zoom. Once a detailed list of all the cues is complete, we will decide, usually based on storyline/situations, who will handle what. Once we are off in our separate corners, we are constantly in touch with each other to ensure that the cues flow properly. Sometimes this involves posting early sketches for each other so we can have a sense of keys and the larger arc.

Joel Schwartz: Building on what Ari mentioned, our collaboration thrives because we have a strong musical synergy, even though we approach the score from different instruments. Ari’s ability to craft these beautifully poignant pieces on piano compliments my work on guitars, which adds a different kind of organic, intimate texture. There’s a mutual openness and generosity in our process, where we’re constantly exchanging ideas and inspiring each other to push the score further. This creative balance allows us to bring depth and emotional nuance to Sullivan’s Crossing—and it’s a dynamic we bring to any project we take on together.

NFS: Ari, you’ve received acclaim for your work on the first season of Sullivan’s Crossing. How did your experience shape the score for the second season, and what drew you to collaborate with Joel?

AP: I wrote the first season of Sullivan’s Crossing with my very long-time collaborator and friend Amin Bhatia. Amin and I were extremely pleased to have been acknowledged with a Canadian Screen Award for our work on the show. But because of competing projects and schedules, Amin decided he could not continue to work on Sullivan’s come season two. In my mind, Joel was an obvious fit to take over Amin’s composing role both because he did so much of the guitar playing on season one, and also because he and I have worked on many other projects together which affords us a wonderful shorthand. He and I have very similar musical tastes.

NFS: Joel, as a guitarist and producer, how did your musical background influence the sound you brought to Sullivan’s Crossing?

JS: My background as a guitarist and producer shaped the sound I brought to Sullivan’s Crossing in many ways. While the technical skills of music production were essential to creating high-quality recordings, I wouldn’t consider ‘technical knowledge’ the key factor in the show’s success. Likewise, years of touring, studying my instruments, and composing aren’t enough on their own. The most important lesson I’ve learned from production is the value of collaboration and communication. The best projects are always more than the sum of their parts, and the magic of a series comes from that collaborative process. Working with Roma Roth, the showrunner and writer of many episodes, and Ari, we began by understanding Roma’s vision for the characters’ emotions and her musical instincts. From there, our constant back-and-forth truly brought the score to life. As a musician, producer, and collaborator, I’ve learned to listen deeply, be patient, and execute musical ideas that serve the story—all of which were crucial to creating the emotionally resonant score I think we achieved for the show.

NFS: What was the most rewarding part of collaborating on the music for this series? Did any specific moments stand out during the process?

JS: One of the most rewarding parts of this process was seeing the show come together, knowing it was the result of a truly talented and collaborative team. Working with Ari and Roma felt like being part of a dream team—I have deep trust in both of them as creators, which made the experience incredibly fulfilling.

That said, Roma had a strong working relationship with Ari and Amin, and because I was brought on later, we didn’t have much time to connect before diving into the work. I wanted to ensure that she trusted me with this project, and was honored to have a moment early on where I felt I earned her confidence. I remember reading her feedback on Frame.io: ‘YES, MORE OF THIS!’ That was a turning point, and from that moment on, we were all able to exhale, relax, and really start having fun creating something special together.

In the end, even if we didn’t knock it out of the park on the first try, we had confidence that through our collaboration and conversation, we’d get there—and that trust made all the difference.

NFS: You’ve described the score as minimalist and organic. Can you elaborate on your approach to achieving that sound for Sullivan’s Crossing?

AP: It was clear from the very beginning that the sound of Sullivan’s Crossing was to be wholesome, organic and intimate. One of the phrases we kept hearing from Roma was “small town”. This description has often led us to making the score sound very “indie” and not overly produced. Some of the most successful cues in the series wind up simply being solo piano, solo guitar, or a combination of the two together. Of course additional layers of strings and pads are used as needed, and the voice of a solo cello along with piano and/or guitar is another favorite combination.

NFS: Are there any specific scenes in the show where you feel the score particularly shines? Can you share what went into crafting the music for those moments?

AP: In season two of Sullivan’s Crossing, there is an episode where a hurricane hits the area and two of the main characters end up stranded in a small fishing shack to wait out the storm. A very long and emotional conversation ensues between them, filled with pain and heartbreak. The scene is quite long and what was required musically was something very delicate, almost invisible to support the scene. Joel and I came up with a true collaboration here where certain parts of the scene had gentle emotional guitar chords, which then handed off to piano and strings to keep things subtly shifting and interesting. I find these kinds of scenes very challenging because the music certainly can’t draw too much attention to itself, and yet at the same time, there’s nowhere to hide as it’s an extremely quiet and intimate scene. I remember Roma being very pleased with the results here as were we!

JS: While it’s hard to pinpoint just one scene, the evolution of Sully’s theme throughout the season stands out as an element where the score really shines. Sully faces significant challenges—his health, his business, and his role as a father—and the theme had to reflect his emotional journey across these different moments. Crafting variations of the theme to mirror his struggles and growth felt like a more ‘filmic’ approach to TV scoring, which I really enjoyed. Ari and I worked closely to ensure that the music supported Sully’s arc in a way that was both subtle and deeply meaningful.

NFS: How do you handle action sequences that require more tension? What elements do you find most effective in those compositions?

AP: Action sequences are not terribly common in Sullivan’s Crossing…but they do come up for sure. It has been interesting to figure out how to approach these scenes while staying within a palate that is organic and somewhat “small town”. Certain kinds of drum beats become useful in these situations, although often it’s not a typical drum kit but rather drums with deeper resonance, sometimes played with mallets or just the hands. Strings also become very useful for both action and tension scenes, but even still, there is usually some acoustic guitar and piano that is grounding these kinds of cues in our palate.

JS: Has Ari introduced you to ‘Les Izmore’?! On this series, we’re fortunate to have great writing, acting, and direction, so our job is to support the excellence already happening on screen, not overshadow it. I think the key is in not jumping in too soon—letting the music bubble, percolate, and show patience. That way, when it’s time to make an impact, it often takes just the right movement to deliver something emotionally powerful.

Ari Posner Jen Squires

NFS: Nostalgia and emotional yearning are key themes in the show. How did you ensure that these emotions were communicated through your music?

AP: For me, this mostly comes down to harmony. Not to belittle the importance of melody of course, but generally I find that the emotions stirred up in underscore are closely connected to the choice of chords and more specifically the voicings used. Joel and I spend a great deal of time thinking about the inversions and voicings of chords in order to yield the perfect color so to speak. It’s tricky business sometimes…but rewarding when you get it right.

NFS: Can you discuss how the rural Nova Scotia setting influenced your musical choices? Did the location inspire any specific sounds or instruments?

JS: I have a lot of firsthand experience with Nova Scotia. During my first summer break from music school, I followed my girlfriend at the time to Antigonish and got a job planting trees. This experience allowed me to immerse myself in the culture and landscape, and I still carry a strong appreciation for the artists from that province. The musical roots run deep in the East Coast of Canada, and many legendary songwriters and guitarists hail from there. However, I wouldn’t characterize our score as a traditional East Coast sound. While elements like alternate and open tunings permeate the score, it leans more towards a contemporary indie-folk feel. The beauty of Nova Scotia lies in its rich musical heritage, which subtly influenced my choices without defining them.

NFS: What are your hopes for how audiences will connect with the show and its score? Are there specific feelings or memories you hope to evoke?

JS: I hope the audience experiences the show without consciously thinking about the score. In most scenes, if the music draws attention to itself, it may indicate we’re not quite hitting the mark. My goal is for viewers to deeply connect with the characters and feel immersed in their stories, just as we were during the creative process of crafting the score. Ultimately, I want the music to evoke a sense of catharsis, allowing audiences to reflect on their own lives, relationships, and emotions as they journey alongside the characters.

Joel SchwartzJen Squires

NFS: With Sullivan’s Crossing now debuting on The CW in the US, how do you anticipate the reception of your score will differ between Canadian and American audiences?

AP: This is an interesting question and I’m not sure there would be a difference. I suppose that the Canadian audience will naturally be more familiar with the East Coast setting of the series, so perhaps that might have them connect to our music with a touch of national pride. But then again, the score isn’t heavily Celtic at all. We have certainly been inspired by straight up family dramas like This is Us for example, which has a sound that appeals far and wide across cultures and continents. Hopefully both Canadian and American audiences alike will be invested in the characters and the stories. If our music helps that cause then what more could we ask for?

NFS: After working on Sullivan’s Crossing, what types of projects are you both looking to explore next? Are there any genres or themes you’re particularly interested in working on together?

AP: The musical vocabulary for Sullivan’s is one that I truly enjoy. I’ve sometimes joked (but it’s partly true) that my favorite part of this job is making people cry. Working out deeply emotional progressions on piano and strings is something I could do all day long and the day would go by in a New York minute. Though I have scored my fair share of thrillers and procedurals, I definitely hope to continue working on family dramas and romantic comedies.

JS: Like Ari, I’m particularly drawn to character-driven family dramas and dramedies. There’s something about exploring the complexities of relationships that resonates with me, perhaps as a form of my own catharsis! These stories often provide rich emotional landscapes, and I am excited to continue to dive into projects that emphasize these dynamics.