Why music editing? I was a musician and I went to college as a film major. I was always into both film and music from a very early age. It seemed a very natural pairing once I understood the job existed. What was your first job editing? I started with a company that did nothing but music editing run by a man named Dan Carlin, Sr. I assisted him on "Rescue from Gilligan's Island". My first credited film was called "Boulevard Nights" composed by Lalo Schifrin. My second film was "American Gigolo" where I met Giorgio Moroder, Harold Faltermeyer and Jerry Bruckheimer. What exactly does a music editor do on an average gig (Assuming there is an average one)? Music editors start once shooting is done by working with the director to create a temp music track. This is compiled from old sound tracks, songs or sometimes classical music to create a pretend music track for the purposes of screening a film. The film is often tested using this track. About 6 weeks before the scoring session the composer writes the original score. The music editor works with the composer and the director to produce music for each moment called for in the movie. Once the score is written and recorded the music editor works on a dubbing stage, mix room where the music is combined with the other sounds to create the final soundtrack. There can be many variations and pitfalls along the way. What kind of freedom does a music editor have over the edit of a score? The music editor must try and maintain the intention of the composer while taking input from the director. The integrity of the work must be protected because many times the director doesn't understand music. The score is often edited after recording to accommodate picture changes or director's notes. But in the end it must sound musical and well intended. Are you typically hired by a composer (since I notice you work with certain composers often), or sometimes are you hired before a composer is onboard? Both really but I prefer to work with a specific composer over time. What, in general, does music editing entail? Music editing entails a knowledge of music, computers and film sense, that being the places for and ways music works in a film. Can you tell us what a "Score wrangler" is? Does it involve lassoing? "Score wrangler" is something Hans Zimmer came up with to describe my shepherding abilities. Making a film score can sometimes involve herding techniques and the use of cattle prods when needed. What would be a reason for bringing in more than one music editor on a score (bar short amounts of time)? Sometimes you have more than one music editor if there is an overlap in the process. For example the temp music and testing is happening while the composing in progress. I worked on Armageddon which had such a bad schedule that we had 6 people in the music editing department including a full night shift If you don't mind me asking, you've gone from James Horner, Alan Silvestri, to Hans Zimmer; why the changes in working relationships -- considering all three still work regularly? Schedules change, opportunities arise it varies. It's nice to work with different people from time to time. Any interesting, funny stories you can share with us, from your decades of work? Well... It seems like there were a lot of to go containers and late nights. It's rather unglamorous really. I had a lot of fun with Danny Elfman and Tim Burton because of originality of there work and our similar childhoods in Southern California. The first cue that was recorded for "Pee Wee's Big Adventure" was so much fun because it really came alive before our eyes after hearing it on Danny's crappy synth. James Horner is really funny although you wouldn't know it on the surface. Who are some of your favorite composers? I'm a big fan of Morricone, Rota and Herman. One cannot forget to mention John Williams. I also love Elmer Bernstein and Jerry Goldsmith. What are some of your favorite scores? " The Mission", "Taxi Driver" and "Ammacord" come to mind. Also, "To Kill a Mockingbird", "Once Upon a Time in America" and "King Kong" are great. There's so many! Do you play any instruments? I'm a sort of half-ass drummer from the 60s. Have you ever done any scoring? No, that I leave to the composers. In a fight, whose mustache would win: yours or Tom Selleck's? The mustache is a relic of the '80's long since replaced by a gradually graying beard. Have you ever worked on any rejected scores, and similarly replacement scores? I worked on a couple. Elmer Bernstein did a great score to "The Scarlet Letter" that was replaced by John Barry and Randy Newman did an amazing score to "Air Force One" that was replaced by Goldsmith. In both cases the original scores were really good and for various reasons were rejected. It's really sad when that happens. Randy did a real innovative score that the director became nervous with. Goldsmith's score was really good too but Randy's was special. Can you tell us about some of your favorite projects worked on, and why? I really enjoyed working on "Bulworth" by Ennio Morricone because it was Ennio Morricone. He was really great and working in Rome was exceptional. I enjoyed "Black Hawk Down" because it was an editing challenge. We basically made music that was then edited against picture for maybe 70% of the score. "Pew Wee's Big Adventure" was fun because it was my first project with Danny Elfman and Tim Burton. That was the start of a nice collaboration. Recently "Sherlock Holmes" was great because Hans Zimmer is such an excellent collaborator and the score was interesting and fun to produce. Can you tell us about any upcoming projects? Next is Pirates 4 followed by the sequel to "Sherlock Holmes". Both should be fun. And finally, if there is anything at all you would like to say, please feel free. I feel lucky... Published: February 4, 2011