Issue link: https://digital.copcomm.com/i/1448505
M OT I O N P I CTU R E S O U N D E D I TO R S I 29 different mindset around how you collaborate at this point? DC: I think I'm braver now—to actually speak up with ideas. When you're working with a composer, you are the right hand. Like if a demo comes in and you have an idea: "Oh, it'd be funny to have a pause here for the joke," then let's do an alternate ending (ALT). I'm the ALT king! Any ideas I come up with, for a director or a composer, I'm helping them with the project. PL: I imagine in some circumstances, the job has become much more creative. I heard about and discussed with other editors situations where there are picture changes after the score has been recorded and so the editor has to take stems, even from different cues and build entirely new cues or conform to picture changes, not just by cutting bars and beats out of the music but, in a sense, re-orchestrating the score through stem editing. Would you care to comment on that? DC: Yes. That happens a lot. PL: You have to have a composer's mindset. DC: Yeah. The Mitchells vs the Machines was like that. Most of the heavy lifting was that Phil (Lord) and Chris (Miller) and the director Mike (Rianda) asked to change a particular piece of music out so then I would just track it with a different cue. Because I had the stems, I could do that without my hands being tied. And that was on the dub stage. So no pressure! It does happen a lot, mainly due to picture changes but also editing choices. For example, the director might suggest that the drums stop before the strings, and have the solo piano take us out. Job security, baby! PL: You are almost re-orchestrating a cue. DC: Yeah. And if I'm in a spot, I'll contact the composer and send a quicktime and say, "Hey, what do you think? Any ideas, suggestions?" I learned early on from Patty Carlin never hide. Never hide from anyone. (Some back-and-forth about coffee ensues…) PL: So continuing on this idea, would you like to talk about any particular project that was especially creative or challenging for you? DC: Sure. I would say, prepping for Wonder Woman was a challenge for me. At the time, I had done so much animation that that's where I felt the most comfortable. And so, I think I put more pressure on myself because live action was a different animal, and I still wanted to do a good job. But once I got into it, I realized it's all music, and it was a very creative project to work on. PL: So how has COVID changed work for you? DC: I miss being with people and would say the biggest miss is scoring sessions. You just don't have the same thrill watching an orchestra on Zoom as opposed to being with them in the room. I have been very lucky in that we dubbed Mitchells at Sony in 2020, and currently I'm working at Legendary Pictures in Burbank on The Machine. We get tested once a week. I feel very lucky that COVID hasn't affected me as badly as so many other people. PL: Do you find that being close to your teammates is helpful? DC: Yeah, it also kind of gives you energy. There are other editors in rooms next to you. It sounds corny, but to me it's like being in a band where you're playing with other musicians. The editors are the band! That's where I came from and it's just what I love. The director, composer, you're all in the band—together. PL: So, to wrap this up, I'm curious. Where do you see this all going? What's the current career environment for someone interested in music editing but just starting out? DC: Another huge question! I guess my advice for someone just starting out, and it may sound again, kind of cornball, but the nicer you are and the more energy you can bring to a project, the more people will want to work with you. It's a people business. Come in with the attitude of "Yes. Let's do it!" "I love this project. We can do it!" Whatever it is. I got advice years ago, remember to say how excited you are to work on their film, or show. And also, listen to music in as many films as possible. It's a learned art form—watch movies and listen to scores! Outside of that, listen to every kind of music there is. PL: Dominick, thank you so much for your time. It's been a real pleasure! Dominick's other passion… coffee and espresso