Issue link: http://digital.copcomm.com/i/335006
30 CINEMONTAGE / JUL-AUG 14 Jersey Boys (2014) Elementary (TV series pilot) (2012-present) House Party: Tonight's the Night (video) (2013) Second Sight (TV movie) (2013) (credit shared with Chris McGeary, MPSE) Mission: Impossible – Ghost Protocol (2011) (credit shared with Michael Bauer) Evil Angel (2009) Wisegal (TV movie) (2008) One Missed Call (2008) (credit shared with Kevin Crehan) Body Armour (2007) AEon Flux (2005) (credit shared with Ashley Revell) The Cave (2005) Amber Frey: Witness for the Prosecution (TV movie) (2005) Iron Jawed Angels (TV movie) (2004) Looney Tunes: Back in Action (2003) (credit shared with Will Kaplan) The Whizzard of Ow (short) (2003) Cradle 2 the Grave (2003) (supervising music editor) Swimming Upstream (2003) (credit shared with Simon Leadley, Tim Ryan and Mike Slamer) Scorched (2003) Ghost Ship (2002) Big Shot: Confessions of a Campus Bookie (TV movie) (2002) Slap Shot 2: Breaking the Ice (video) (2002) (credit shared with Michael Jay) The Dangerous Lives of Altar Boys (2002) Thir13en Ghosts (2001) Tortilla Soup (2001) (credit shared with Chris McGeary, MPSE) Seven Days (TV series) (1998-2001) Execution of Justice (TV movie) (1999) (credit shared with Ron Finn) The Defenders: Taking the First (TV movie) (1998) Naked City: Justice with a Bullet (TV movie) (1998) (credit shared with Chris McGeary, MPSE) Wrongfully Accused (1998) (assistant music editor) Barney's Great Adventure (1998) (credit shared with Sherry Whitfield) Chairman of the Board (1998) Dangerous Beauty (1998) (credit shared with Jay B. Richardson) Boogie Boy (1998) The Defenders: Choice of Evils (TV movie) (1998) Tommy Lockett SELECTED MUSIC EDITING CREDITS Also tricky were what Lockett refers to as "hybrid" scenes in which a song begins in one location and continues into another. "There's a scene that takes place in a location called the Rooster Club," McGeary says. "But the song actually starts as a small solo vocal in the recording studio, and then we transition from the studio into this big theatre with a 40-piece band backing up Frankie singing. Re-recording mixer John Reitz was responsible for taking over 100 individual tracks and making it sound great." Few of the songs are played at full length, calling for judicious pruning without compromising musical integrity. The music editors worked closely with Cox and Roach. "We'd sit down, map out what we were trying to accomplish and how much of the song we're trying to get into a scene," McGeary says, adding that this back-and-forth process usually involved several passes of picture and music editing. "Joel or Gary will edit a scene and throw it back to me. I will look at it and say, 'I may need another eight frames of picture to make this sound correct as far as musical phrasing.' We finally arrive at a place where we all feel comfortable, musically and pictorially." McGeary traveled to Nashville for a week's worth of work with real-life Four Seasons keyboardist and songwriter Gaudio. "He wanted it to be as authentic and as close to the Four Seasons sound as we could get," McGeary says. "Clint wanted to get Bob's opinion and notes about what he wanted." Gaudio's input was incorporated on several of the mixes but, in the end, McGeary says, it was Eastwood's film, and the director had the final say. "He wanted the audience to experience the development of a young, teenage group and their improvement through the years," McGeary says, "and getting them to the point of where they had the fantastic Four Seasons sound that we've come to know and love." Both music editors savored the chance to work on a film in which their roles were so integral to the finished product. Lockett reflects, "I have to say Jersey Boys was one of the most fun movies I've ever worked on." Adds McGeary, "Whenever I get a chance to really dig in and put my hands on a film that has so much music, it just makes my job fantastic." f Opposite: Jersey Boys. Warner Bros. Pictures CineMontage_Jul-Aug_14-4.indd 30 6/18/14 5:45 PM