The love affair between Roswell and music was born in the editing room while we were working on the first few minutes of the first episode. In early cuts, there was something unsatisfying to me about the moment Max healed Liz after she was wounded by an errant gunshot. This moment was so important. It was the foundation for the pilot episode and the entire series. I felt it needed to be not only a heroic moment, but also a spiritual one. It needed to be something that would create a deep, life-altering bond between Max and Liz.
The sequence was originally temped using traditional underscore. Even thought it seemed like a very atypical spot for a song, I started listening to all of my CD’s.
When I heard ‘Fear’ by Sarah McLachlan something clicked for me. We dropped it into the cut and it was like magic. The moment immediately became internal, emotional. Suddenly Max and Liz were having this incredibly intimate, private moment in this very public place under this horrorific circumstances. Max wasn’t merely saving Liz’s life, they were falling in love. And the arguably silly premise of the show itself— a teenage alien falling in love with a human teenager— was no longer silly. It was real. We cared about these people.
That moment started a tradition for us of seeking to deepen moments using music. Roswell has continued to call upon the singular power of music to help bring to surface the emotional lives of its characters. Roswell’s debt to music is considerable. Very simply, it has made the show more.
Jason Katims, commentary released with the original Roswell soundtrack