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 25 PL: So you're taking a very psychological or dramatic approach. DC: Yeah. And on the fi nal, with the composer, same thing; you're helping him/her achieve that. You kind of become a conduit between the director and composer. PL: And because you temped the picture, up to this point, you had more time with it and more contact with the director so you may have a better sense of what the picture demands. DC: Yes. That's another big part of temping, that the director might want to try diff erent scores in a scene to see how they work. PL: So you, along with the director, are defining the tone of a scene, pointing out emotional shifts—predetermining all of this before the composer gets the project? DC: Yes, exactly. For a temp you must work like you are the composer … the scene should tell you what to do. Many times there are a couple ways to play it, but ultimately the music helps the scene (in its simplest terms). Whether it plays a contrast, completely opposite or exactly what's going on. That's the creative stuff that you fi gure out. They ain't easy … temps! One of the things I love about this business is that you are part of a team. Dominick's dog Houdini wanting to take a break Music crew of Hotel Transylvania 3, recorded at Abbey Road for Sony. L to R: Editor Joyce Arrastia, music editor Dominick Certo, score mixer Alan Meyerson, conductor/orchestrator Tim Davies, composer (music by) Mark Mothersbaugh, composer Wataru Hokoyama, Gordon Davidson, scoring assistant, engineer Stefano Civetta, assistant engineer Jack Mills.