Issue link: https://digital.copcomm.com/i/1335892
M OT I O N P I CTU R E S O U N D E D I TO R S I 37 1. PERRY LA MARCA: I know you're also a composer. How did you come to music editing and what was the first project you worked on that convinced you this could be a viable career? SHIE ROZOW: I am also a composer. I actually didn't know music editing existed until being introduced to it as a required class in my film scoring program at Berklee College of Music. I went there expecting to pursue a career as a composer but really enjoyed that initial music editing class. Mine was the last class to learn how to cut mag, after that it was all digital. We learned how to cut using a Kem flatbed (I think it was a 16mm Kem), an upright Moviola & Pro Tools (version 3.2 back then). So I got to learn analog and digital concurrently, as well as how to create timing notes and how to write to timing notes rather than to picture as was done before video. Shortly after moving to Los Angeles, I landed a job at Alan Ett Music Group (now Spirit Music Collective), which is where I first saw music editing in action. They would work on tons of TV shows for A&E, TLC, Discovery, and others, where most of the music was tracked using library music and edited to fit. After a couple of years, I left the company to pursue a freelance career. I wanted to work on major feature films and eventually, thanks to the late Virginia Ellsworth and Angie Rubin, I was introduced to Richard Ford who hired me as his assistant on Training Day. That was my first union gig and my introduction to working on major feature films. I remember my first day on the dub stage at what was then Warner Hollywood. Walking onto a large stage was just magic. I knew this was a place I wanted to be. I also remember being asked if I wanted to order anything for breakfast and I thought I was being teased, so I politely declined. Then breakfast showed up for everyone and I felt like an idiot. I loved everything about it—the grueling hours, the creative and technical challenges, but most of all, I loved working with such creative people BY STEVE LEE Recently, I had the wonderful opportunity to chat with composer, music editor, and former MPSE Board member, Shie Rozow. We discussed his long and varied career and in particular, his thoughts on the specific ways and the processes where and how music composition and music editing interact. I hope you will enjoy my six questions for Shie Rozow on music editing.