Issue link: https://digital.copcomm.com/i/1448505
26 I M PS E . O R G PL: With temping like this, do you think it helps the composer get closer to what the director wants sooner, perhaps with fewer initial versions? DC: I do. Yeah. Communication is key. PL: All of this sounds like a huge help to the composer! You've been at this for so long—128 credits, many with multiple episodes. I would think that in some cases, you have more experience with dramatic interpretation than many composers. In that regard, I see a music editor bringing an enormous contribution to the table—in terms of helping the composer get closer to the director's vision in the most efficient way possible. DC: Definitely! Yeah. Say, Mark Mothersbaugh, whom I work with quite a lot, turns in a demo, I may suggest an alternative idea based on the director's notes from the temp. You want everyone to succeed. You want the composer to be great. PL: Just to wrap up our section on temping, where do you source these pieces of music from? I always had the impression that a music editor required this encyclopedic knowledge of film music. DC: I always like to start by talking with the director about composers or scores they like, or think would be right for the film. After that, I tend to pull from scores I like, that I have some sort of visceral reaction to. Like if it's a rom-com, I'll pull from John Debney's or Chris Beck's music first. Music editors also tend to share a lot of scores with each other, which is super helpful. PL: I imagine that you enjoy the temping process the most. That it's the most creative part of what you do? DC: Yes! And at times, the most difficult. It's a love-hate relationship. You are excited, but also panicked. Can I do this? Do I know what I'm doing? You wanna do a good job but starting is difficult. Then you find the first cue and you're like "ooh, I love this." So it's like panic then total satisfaction. You get an idea at 10 at night and you're going for another five hours. That's good for the project and bad for your social life! (social distanced life!!) PL: And is it safe to imagine you are generally brought in to temp projects you will be doing final music editing for? DC: Yes, but not always. More often, I temp and then another music editor takes over with the composer, and vice versa, when I'm on a final with Mark and I'm the guy coming in after the temp. PL: So to move on, there is another side of this which is what you do after the temp is done and the composer has started the scoring process. DC: For the final, you handle all the music. Scores, songs, source. You keep it in sync, conform to any picture changes and deliver this to the dub stage. You often convey notes from the director to the composer and you are there to protect the integrity of the music —and therefore the integrity of the project—from start to finish. I'm responsible for the music in the picture. If there's an issue with something, they're gonna come to me. PL: I'm curious how, for you, the job has changed over the years. Other than the transition from cutting mag to working with Pro Tools, has your approach changed? Do you have a Dominick with his two Golden Reel Awards he won at the 2016 64th Annual MPSE Awards for Moana and Tinker Bell and the Legend of the NeverBeast 2016 64th Annual MPSE Awards for Moana