how moonlighting recruited orson welles, billy joel, and shakespeare for its most iconic episodes
curse"), the show was also known for its distinctly cinematic approach — from its pop music-laden score to its ambitiously crafted episodes.
"I'm extraordinarily proud of a handful of episodes that I think are incredibly bold, and at the same time, wildly entertaining and so unexpected," he adds. Caron says it was writers Carl Sautter and Deborah Frank who came to him with the idea of the dual dream sequences. "I don't remember who said, 'Let's do it in black and white,'" he remembers. "It may have been them. But I said, 'Let's do it in two styles of black and white. Because to me there was a real difference between MGM black and white and Warner Brothers black and white. Warner Brothers was much more rough and tumble. MGM was kind of glossy.
In 1986, Joel was one of the biggest stars in music, with Grammy Awards, hit singles, and a 1985 compilation of his greatest hits already to his credit. But surprisingly, it was his idea to offer up a song toBoth Joel and Caron worked with music producer Phil Ramone, which led to the connection between them.soundtrack album with, called me one day and he said, 'Billy Joel wrote a song for you and the show.
If the number and its tale of a nightclub romance gone awry looks an awful lot like the "Broadway Melody" sequence ofnumber
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