Northern Disclosure – S3E7: "A-Hunting We Will Go"

Evergreen Podcasts | October 21, 2025
Hosts: Rob Morrow (Joel Fleischman), Janine Turner (Maggie O'Connell)
Guest: David Schwartz (series composer)

Episode Overview

This episode of Northern Disclosure dives into “A-Hunting We Will Go,” a memorable episode from Northern Exposure’s second season. Rob and Janine recount the show’s character arcs and the episode’s themes, but the main focus is a fascinating and in-depth conversation with David Schwartz, the Emmy-winning composer of Northern Exposure’s music and theme. Schwartz offers rare behind-the-scenes insights into the creation of the iconic theme, the art of TV scoring, and shares the story behind the episode’s memorable closing cue, “Dancing on the Grave.”

Key Discussion Points & Insights

1. Personal Updates and Setting the Scene

• [00:39–01:21] Janine reports live from a hospital parking lot, supporting her mother post-surgery, highlighting the flexible, heartfelt tone of the podcast.
• Rob acknowledges Janine’s dedication, setting a friendly and supportive backdrop for the episode.

2. Episode Details and Creative Team

• [01:40–03:01]

  • A-Hunting We Will Go was written by Craig Volk (his only episode), directed by Bill D’Elia (who helmed some of the show's most iconic episodes).
  • The hosts express admiration for D’Elia’s directorial style.

• [03:01–03:35]

  • David Schwartz is introduced as the guest composer, the creative force behind the beloved theme and all original cues for the series.

3. Reflections on the Episode: Character Arcs and Themes

• [03:35–08:38]
  • Janine praises Schwartz and the instantly recognizable theme. She describes the episode as “a great arc for Joel” (Rob’s character), exploring his emotional journey from discomfort to reluctant acceptance to resolution around hunting.
  • Rob highlights the show’s ability to “show different points of view about this particular situation," praising the script for balancing multiple characters’ perspectives on life, death, and community.
  • Both reminisce about the vulnerability and authenticity in their performances—especially in scenes where characters “let all the facades down.”
    • Janine Turner [08:13]: “There just becomes this real sort of into-the-soul type of moments...I really love those really vulnerable moments to play as an actor, don’t you?”
    • Rob Morrow [08:38]: “It’s nice to see behind the facade…letting the guard down and seeing who these people are.”

4. David Schwartz: Origins of the Iconic Score

How David Got the Job

• [10:38–12:03]
  • Schwartz shares that Northern Exposure was literally his first TV composing job.
  • He got the opportunity through Cheryl Block, the show’s co-producer, after working on a small, unreleased film.
• [12:07–13:57]
  • The show’s original working title: North to the Future.
  • After established composers failed to deliver a fitting theme, Cheryl gave David a shot—“All the Pros…they failed. Okay, now it’s your turn.”
    • David Schwartz [12:07]: “Now that’s one of the great mixed messages…they failed. Okay, now it’s your turn.”

Writing the Theme (“I Thought, This Is Whack”)

• [12:30–14:09]
  • David’s first attempt, formed on bass and layered with accordion and samples, didn’t seem “right" to his own ears. He even submitted a more generic “quiz show” sounding theme, which Cheryl immediately rejected.
  • Only reluctantly did he play the now-iconic theme for Cheryl, who loved it.
• There was competition from a Talking Heads song (“This Must Be the Place”), but David’s theme was ultimately chosen.
• Josh Brand’s creative direction: Rather than lean into Alaskan or Indigenous motifs, he suggested Schwartz “go opposite” (“do things from the Southern Hemisphere”), inspiring the theme’s Cajun/calypso feel.

Quote
[15:43] David Schwartz: “He says, do things from the Southern hemisphere. So that was a big, big starting point for me, you know, because it has Cajun rhythms. It’s got like a calypso thing going on.”

The Recording Process and Legacy

• [17:32–18:42]
  • The original theme was recorded in David’s cramped garage, using 2-inch tape and local LA session players.
  • A harmonica player from Alaska (Tolak Olstad) gave the theme its signature sound, after David rejected a more ‘classical’ player.
  • The theme’s lasting reach: Decades later, people in Amsterdam recognize and request it when Tolak performs.

Quote
[18:42] David Schwartz: “He walked in and I said, where are you from? And he goes, Alaska. I said, this is going to work. So it was a sign.”

5. On-Screen Music: Crafting Cues and Episode Moments

Music Choices in “A-Hunting We Will Go”

• [23:03–25:33]

  • Rob notes the subtle, restrained music mix of the episode—most cues are barely audible, except the memorable closing cue, “Dancing on the Grave.”
  • David confirms composing a “quiet” classical-inspired cue (cello and violin) for the hunting scenes, evoking melancholy.
  • Discussion of the mixture of “needle drops” (existing songs) and original composition, a signature of Northern Exposure. This collaborative environment was rare on TV.

  Quote
  [25:42] David Schwartz: “I just watch picture and what comes to mind...I probably imagined what I felt at the time, that melancholiness. I don't think that much about what does this mean.”

• [27:01–27:39]

  • Josh Brand often directed Schwartz to play against the on-screen mood: “This is a sad scene—don’t make it sad. Can you make this lighter, a little more fun?”

Duality in the Music

• Janine Turner [27:01]: “That kind of juxtaposition, the duality…it's interesting that that existed in the music too.”
• Schwartz affirms that this duality—the tension between comic and dramatic, light and dark—was foundational in all aspects of the show.

6. The Iconic Closing Scene: “Dancing on the Grave”

• [28:06–34:17]
  • The climactic final scene, in which Ruthanne and Ed dance atop Ruthanne’s future burial plot, is frequently cited by fans.
  • Schwartz describes his composition process as nearly unconscious—the cue “just has a magic that sort of came. I wouldn't change anything about them.”
    • David Schwartz [30:59]: “Maybe two or maybe a dozen examples in my whole music career, where I don't know where they came from, I wouldn't change anything.”
  • Rob notes that the cue felt like a “minor variation on the theme,” adding emotional resonance to the scene’s philosophical message about mortality and celebration.
  • The ambitious use of a helicopter shot (pre-drones) added a grand, cinematic element to the TV moment.

Quote
[31:26] Rob Morrow: “…deals with death outright in front of you…if we could accept the idea that we're going to die, we could live more fully in essence. And so this, I think, episode really explores that and then celebrates it by her dancing on the grave.”

• [34:17–36:32]
  • Schwartz describes fan reactions and his sense of accomplishment with this moment.
  • Technical note: For the polka cue prior to the grave scene, Schwartz engaged musicians with storied backgrounds, allowing him to learn from their deep experience.

7. Behind-the-Scenes: Production Life as Composer

• [36:41–39:11]
  • David outlines the TV workflow: receiving rough cuts, usually having about a week to compose, and the technical challenges of the analog era.
  • Working with union players and session legends (including musicians whose credits spanned Tonight Show, Hollywood orchestras, etc.)
  • Choppy TV schedules often meant creating under time pressure, sometimes compressing the creative process into “a blur” of consecutive episodes.

8. Other Notable Musical Moments—Historical Episodes

• [42:32–47:18]
  • Discusses scoring the “Sicily” episode (the show’s historical flashback): First time using a 65-piece orchestra; process was daunting but deeply rewarding.
  • Schwartz recalls how sometimes music is called upon to “save” a scene or inject extra emotion, and how balancing subtlety and sweep is a key composer’s challenge.
  • Janine Turner notes that when done well, music “melds with the emotion and carries it further,” but if mishandled, can be distracting.

9. Meta and Fourth-Wall Moments

• [49:34–50:31]
  • The hosts highlight Northern Exposure’s willingness to break the fourth wall or make self-referential jokes (e.g., Ruthanne referencing St. Elsewhere, or nods to Twin Peaks).
  • Schwartz remembers the episode where Josh Brand broke the fourth wall completely; both actors and crew had mixed feelings but agreed it somehow worked.

10. Memorable Quotes and Lyrical Moments (with Timestamps)

• [06:35] Rob Morrow quoting Joel: “I’ve never had to eat a patient before.”
• [50:31] Rob Morrow recalling Chris’s line: “Man becomes the food of the divinity he worships.”
• [51:24] Joel to Maggie: “The killing was great. It’s the dying I couldn’t take.”
• [15:43] David Schwartz, on Josh Brand’s creative direction: “...do things from the Southern hemisphere.”

Notable Guest Moments: David Schwartz

• Gratitude and Retrospective ([51:43]):

  • Schwartz attributes much of his subsequent career success to the supportive, experimental atmosphere of Northern Exposure, saying:

    “...a tremendous amount of gratitude for you and the producers and everyone who sort of let me figure out how to do it on the job and grow with it. And it was a totally unique show...”

• Serendipity and Magic ([52:41]):

  • Schwartz closes with a personal anecdote about running into Rob in Santa Monica after losing his home in wildfires, describing the meaningful “magic” of the moment that brought him to the podcast.

Final Thoughts

The episode is a testament to Northern Exposure’s creative ambition in both writing and music. Rob and Janine’s chemistry with each other, and with David, brings warmth, wit, and genuine insight into how even a single episode’s music and philosophy continue to resonate emotionally and artistically for decades.

Important Segments for New/Returning Listeners (Timestamps)

• [03:01] — David Schwartz intro and explanation of music cues
• [10:38–15:43] — Origin story of the Northern Exposure theme
• [17:32–18:42] — Recording the theme; finding the harmonica sound
• [28:06–34:17] — Breakdown of the “Dancing on the Grave” cue/scene
• [42:32–47:18] — Scoring the “Sicily” episode and orchestral experiences
• [49:34–50:31] — Self-aware, fourth-wall moments in the show
• [51:24–52:41] — Memorable quotes and Schwartz’s closing gratitude

Tone and Style Notes

• In keeping with the show, the tone is nostalgic, philosophical, and lightly comic—marked by honest, human moments and an affection for the artistic process.

For fans of Northern Exposure, television history, or film/TV composition, this episode offers both heartfelt memories and deep insight into the music and magic behind Cicely, Alaska.