Issue link: https://digital.copcomm.com/i/1512183
108 M PS E . O R G of fell into it really, but I wish I had found out about it earlier. PL: Do you see this as an offshoot from your role as producer and or engineer? GS: Now to be honest, I really enjoy the music editing—I like to be more involved in the creative process of the film as a whole, through the whole post process, rather than just recording and/or mixing. Although, I enjoy seeing the whole thing through which I sometimes get the chance to do, particularly with Jonny. It's nice to hand over the recordings you have done as score mixer and engineer to yourself as music editor, it leads to less surprises! PL: What is your process for temping? I see this as one of the more creative aspects to this work and I'm curious as to how you approach it. Other than your work with Jonny Greenwood (imagining this might be different), do you tend to be involved with the composer at this point? GS: You're right, with Jonny not a lot of temping is done and we are lucky to be given more of a free rein due to the relationships and trust we have built with directors, who have usually written the films too. We will usually get rough demos to them at as early a stage as possible, which will then be used until we record the real thing. They often sound pretty rough but we seem to get away with it usually. But if I'm out without Jonny music editing something and I'm temping, it's a different process. It's really all about building a relationship with the director and editor and getting to understand what makes them tick. I'll usually throw lots of options at them to start with, even if I personally think some of them are rubbish as it's such an objective thing. From there, it's a question of honing down, until you have a framework to temp within, whether that's from a specific composer or film or style. It's so important that the temp sounds cohesive, particularly if there are public previews. It's all about good communication really—I think the vast majority of issues I've come across could have been avoided or at least greatly reduced by better, more honest communication. If there is a composer employed at this point then yes, of course, you can minimise the stress for everyone concerned by keeping them updated with and listening to their opinions on the temp. That way there are no surprises for anyone further down the line, which can be stressful. PL: How do you see your role as a music editor in terms of affecting the musical outcome of the film? Are you able to act as a liaison between the filmmaker(s) and the composer? GS: I think that's the main role of a music editor really, liaison between composer and filmmaker. Yes, you can affect the musical outcome of a film, but preferably by allowing the director and composer to meet artistically in a mutually agreeable way, rather than stamping too much of your own personality/ ideas on it. Although it's good to have a strong opinion, it's sometimes necessary to stand down—it's not your film at the end of the day. PL: Could you share with us an example of a project you are particularly proud of or where your work was especially creative or required a unique approach? GS: My favourite scores have probably been Phantom Thread or You Were Never Really Here with Jonny, which are very different in scope and approach, one being quite large and orchestral in places, the other much more just Jonny and myself experimenting in the studio. I enjoy it when he comes up with a mad concept which I then try to invent some kind of creative process to realise. That's always fun and is a common thread through how we record stuff, trying to get an original angle on things. Another one I did recently was a Garth Davis film Foe, where there were two composers, which made things more complicated. There was a lot of work done to bring the different elements together effectively. Also, I've just recorded and mixed the score for the Yorgos Lanthimas film Poor Things with Jerskin Fendrix composing. It was fun trying to realise his demos with real musicians, he's a very talented creative young composer with very definite ideas of what he's after.