Kristin Marguerite Doidge
fYou should feel ILM music, you may not necessarily hear it. MPSE is one of the central tenets of music editor Jillinda Palmer, who remembers to learn from her mentor.
“We don’t want to beat people with emotions,” she said. “It’s hard for me to learn. They really taught me how to listen, and the background of the entire soundscape once the dialogue, music and sound effects were added. At the end of the day, the dialogue, the dialogue Always first, so I think I think I think being with me a mentor really taught me to listen to the conversation and listen to the story.”
As the music editor of the recent hit series, “Lady in the Lake” (Appletv+), starring Natalie Portman and Moses Ingram, Palmer and Showrunner Alma Ha’rel works closely with music director Linda Cohen to ensure:
The music of Show is real, suitable for amplifying the period of Baltimore’s compelling and immersive storytelling in the late 1960s.
Palmer’s early work on sound design and sound effects in animation helped her understand how to build a universe from scratch.
“It’s almost like a blank canvas, you’re going to fill people in and build a world,” Palmer explained. A big part of her role is often sometimes a connector between different departments, becoming director, editor A common thread between the music team.
While searching for temporary score music, she found Marcus Norris, the composer of the show and suggested that he participate in Ha’rel because she thought his musical style was perfect for the show .
“I like to say in sound design that you’re as good as a library,” Palmer said. “Alma does want it to be the real instrument and sound of the period, but she also wants many ASMR (autonomous Feeling Meridian Responsive) elements Marcus ended up adding a lot of breath, a lot of very delicate percussion sounds, a little bit of tapping and woodcut and something that just grabs your ears, but you probably don’t really know what it is. It’s really for Alma It’s important. And we’re all very likable about it.”
As the show merged, Norris believed that having Palmer’s guidance was crucial.
“We all want her to be in the room, almost whatever we were working that day,” he said. “We (correctly) assumed we could use her help.”
The show features excellent soundtracks from the 1960s and well-curated musical selections, including Nina Simone’s Sinnerman and Shirley Bassey’s Impossible The Imposs Dream – Each episode is filled with a unique and immersive atmosphere. Many songs are in the script, but capturing precise moods requires a lot of creative collaboration.
“This rich, authentic soundscape is the result of months of dedicated, enthusiastic and uncompromising collaboration with Jillinda,” said Yael Hersonski, picture editor. “As an editor, especially on this show, I rely heavily on music to set emotions and tone, and also enhance the emotional depth and rhythm of each scene. Jillinda has the impeccable ability to understand this balance and consistently provide seamless integration into the narrative music editor.”
One of the most challenging aspects of achieving this on “Lady in the Lake” in episode 3 is the music at the Jazz Club from live to stage play, to montage play, to the background of the record player . The result is how music helps Ha’rel enhance the surreal vision of the show’s glow.
“When you perform seven hours with many challenging music tips, you usually need to be creative in ways that you can’t predict,” Harrell said. “Gilinda always sees us there at every intersection.” . Her musical background allows her to be as excited as a band member, which is my favorite way of working.”
Indeed, Palmer was an active performing musician whose band happened to be a soul group from the 60s, making the work on this particular show even more satisfying. To keep her musical talent sharp, she regularly performs singers with bands like Tom Kenny & Hi-Seas, DJ Lance Rock and Honolators, and records conferences as a multi-instrumentalist and arranger.
“I even had a group of girls before these three girls, we matched in dresses and had three-part harmony,” she said. “Our greatest influence was the band of this era – Supreme Cookies, Shangri-Las. So when I learned that this is what Alma aims for, I was like, “Oh my god, I know this type better than any other type. “I thought beside myself, “This is the best. ”
Over the past 20 years, Palmer’s passion for musician performance has been crucial in her work as a music editor and vice versa. In 2003, she studied recording and music performance at the Musicians Academy in Hollywood. This brought her into the post-production field, where she began working as a sound effect editor, sound designer and dialogue editor. In 2012, she decided to focus on music editing and worked on Pitch’N Sync under the leadership of music editor Jennifer “Jenny” Barak, who had worked on “Gray’s Anatomy” and ” Donnie Darko” Destiny. During that time, Palmer saw how the work of music editors allowed her to use her music and editing expertise to enhance clients’ musical intentions.
She said she has received guidance from many great music editors over the years, including Moira Marquis, Micha Liberman, Emily Kwong, Edwardo Ponsdomenech, and composers such as Joey Newman, Frank Ciampi and Andy Paley. Her most famous projects include editing music on “Deadwood: The Movie”, “Crazy Ex-Girlfriend” and “Virgin River.”
But with each new show coming, she says she continues to learn new technologies and appreciate staying in touch with current technologies – she and her other music editors try to help each other by staying in touch and sharing ideas and tips. Next, Palmer is music editor Duke Johnson’s upcoming film The Actor, which includes music from Arcade Fire’s Richard Reed Perry.
She hopes her story will inspire and educate more people, especially women – about music editing is a possible career. She also wants to remind directors, performers and other other jobs in post-production, how music editors can support their goals and make the project better, especially as the industry grows.
“We can’t be invisible,” she said of herself and her music editor. “If we don’t advocate for ourselves, our work will go away. I know great picture editors can edit music, but that makes my work a lot Better because I can work with them and have musical conversations with them. I can say, “I know where you are going and I’m going to help you get there. ”
