Issue link: https://digital.copcomm.com/i/1448505
PERRY LA MARCA MPSE: Dominick, It's great to finally have a chance to catch up. Let's start this off with me asking a bit about your background and how you came to the field of music editing. DOMINICK CERTO MPSE: Sure … In a nutshell, I was born in Detroit, MI, grew up in Livonia playing drums and singing in various bands who played covers and original music. I came to LA in my early 20s as I had friends out here who were musicians. They said, "come on out— let's play," so I did. I got a gig as rehearsal drummer for the fi lm Newsies, which was a blast; drums, piano and dancers on a sound stage. My wife, who was the choreographer on the gig, said to me, "Hey, I met the music editor, Patty Carlin. Is that something you would want to do?" The drummer in me was like, no! But I was looking for more structure, so I called Patty. I was always in love with fi lms, so after my fi rst interview and seeing the marriage of fi lm and music, I was hooked. I started with Patty Carlin, Dan Carlin, Sr. and Tom Lavin, they were my teachers. It was a great family to learn from "Thank you Carlins!!" PL: At that point, were you also a film music aficionado? DC: Somewhat. I knew about the big composers. Especially Randy Newman who was on Saturday Night Live and then, here he is—writing fi lm scores! I had some knowledge of fi lm composers like James Newton Howard, Jerry Goldsmith, John Williams, John Debney. PL: So your first project was Goof Troop? DC: Yes. I did timing notes for the composer, Mark Watters, on that show (timing notes are … another subject for another time). I worked on a few fi lms with Dan Carlin where I learned to cut on mag (sound on fi lm, magnetic oxide), which was really exciting for a fi lm lover because: "It's fi lm!" Then soon after, everything shifted to digital which was equally exciting. Cutting on fi lm you make a few cuts, then back to transfer for another copy. With digital, you are able to try out so many diff erent options, by cutting all day and night! Ha ha, fun stuff . The director might say, "Hey, what if we did this?" and you're able to give him/her those options—quickly … or at least by midnight. Hee hee. PL: Let's shift to a rather basic question: What exactly does a music editor do? DC: That's a big question! "Drink a lot of coff ee if they're smart! As a music editor, you can be hired for two diff erent parts of the job; temping the fi lm or working on the fi nal, or, sometimes both. A temp is working with the director to cut temporary music before a composer is hired, whereas working on the fi nal is working with the composer through meetings, demos, scoring, and dubbing until the end of the project. On a temp, you are essentially working with the director to fi nd the right music and tone of the fi lm. Temping is often a bigger job than working on the fi nal music—only because of the hours it takes. Thinking about where the music leads. Where does it cut off ? Where does the motor rhythm start before the chase? Then thinking about whether you're happy with it, is it good enough? That can drive you crazy. I try to take breaks as often as possible. Sometimes you come back the next day and think OMG, I hate this but I know what to do to fi x it. That happens all the time. Dominick has also won fi ve Golden Reel Awards over the course of his career: Aladdin's "Garden of Evil," 101 Dalmations, Mall Pups, The Penguins of Madagascar, Tinkerbell and the Legend of the Neverbeast and Moana. While his credits speak for themselves, I can only imagine his engaging personality and great sense of humor have also made him an ongoing pleasure to work with. I hope you will enjoy this chat with Dominick Certo. subject for another time). I worked on a few fi lms with