Issue link: https://digital.copcomm.com/i/1335892
40 I M PS E . O R G to find a drumbeat I liked from the options available on the keyboard, figure out the tempo from the live performance and record it. Since there was no actual drumbeat on set, the actor's performance varies in speed a little bit, so I had to tweak the beat around his performance, and then when Key's wife comes in and they stop, the beat keeps going, but gradually slows down and then I created a little drum fill that transitions us into the score cue that takes over. It's a subtle little thing, but it just makes the one scene flow into the next in a way that would never have worked if I let it just abruptly cut off on the picture cut. There were other little moments like that throughout the film, where I would do little manipulations to help tell the story. It was a lot of work, and very difficult at times, but a lot of fun and extremely rewarding. 5. PLM: What is the current climate like for music editors? Do you see the market growing for them? What is the best pathway for someone wishing to enter this field? SR: I think in some ways it's probably the same as it's ever been. Most people have no idea what we do; they just know they need us (sometimes not even that). On the other hand, I think due to the advent of the streaming services, we've had an explosion in production and with it tons of opportunities. I've also seen the job description change quite a bit. I think in some ways it was simpler when I started out. For example as a music editor, the job was to edit the music, then a mixer would mix it. Now, especially when creating temp music, often there is no temp dub, it's up to us to properly mix it against the guide tracks. I think we've all had to become a little bit of a music producer as part of the job. Technology has driven most of those changes. We're able to do so much more than was possible, and therefore, we're expected to do more than we used to 20 years ago. I think it's exciting, and I'm looking forward to seeing how things will continue to change and evolve over the next 20 years. However the underlying craft hasn't changed. It is, and always has been, about using music to tell the story in the best way possible for the filmmaker's vision. How we get there may change and evolve—the tools are different—but the task, the craft is the same. As for getting started in the business, my advice hasn't really changed since I first began. First, work hard at getting good at your craft. Second, build relationships. It's all about relationships. If you're the most brilliant music editor there has ever been, but nobody knows you, it doesn't mean squat. People need to know you to hire you, which means you must build relationships. People like to work with people they like so make sure you don't just deliver the goods, but also that you're someone people enjoy working with. Third, nurture your relationships in a generous Rozow at Capitol Records.