Fall 2016

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Page 39 of 107

38 CINEMONTAGE / Q4 2016 by Mel Lambert portraits by Christopher Fragapane W hile music editorial normally is one of the last chores to be completed prior to the mix — preferably against a locked picture — the creative choices start early in the process. An orchestral score or prominent source music can propel a dramatic narrative as strongly as the dialogue. For two recent productions, talented music editors ensured that the director's and showrunner's dramatic intents were fully realized through a carefully crafted and edited music soundtrack. Focusing on the important role played by music editors during film and online series post-production, CineMontage reached out to music editor David Klotz, who worked on the recent Netflix series Stranger Things, and Jason Ruder, lead music editor for La La Land, which opens in theatres in limited release through Lionsgate December 9, and goes wide a week later. LA LA LAND Writer/director Damien Chazelle's musical La La Land, which was completed mid- summer, stars Emma Stone as Mia, an aspiring actress who serves lattes to movie stars between auditions, and Ryan Gosling as Sebastian, a jazz musician who survives playing cocktail party gigs. With an intricate score by composer Justin Hurwitz — who also worked with Chazelle on his Oscar-winning Capturing the Musical Magic for Film and Online Series Jason Ruder and David Klotz Jason Ruder, left, and David Klotz. La La Land. Amazon Studios/ Photo by Dale Robinette CONTINUED ON PAGE 40

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