Where are you currently working?
I’m a freelance music editor based in Brooklyn, New York. I do most of my work remotely from my studio in DUMBO (Down UNext medium sizeAndhatan Secondridge oxygenWellpas). I work with directors and editors on casting events and music reviews. During the selection process, the director, post-producer, picture editor, and I reviewed the film scene by scene and determined the exact moments on screen where music was needed. Music criticism is a discussion about whether a particular piece of music is appropriate for a scene and how (if necessary) it can be improved to create emotional resonance. I attend the composer’s final score recording session. I’m also personally involved in the dubbing phase during the final re-recording mix. At that time I would discuss music issues with my colleagues in the sound department.
Current project?
I have recently started writing a musical/rock opera called “O’Dessa” which will be released in early 2025. Premieres at Film Festival (TIFF) September. I also worked on an A24 fantasy film called Death of a Unicorn, and about a month ago I finished the final mix of a horror film for New Regency.
Describe your job.
music editor is swim bladder Between the Image, Sound and Music Departments. You can work with the director/showrunner to create a temp score to establish the emotional and stylistic language of the project. You then work closely with composers to develop, organize, record and present their original material. You work with the Music Director to select and present source material and needle drops. You are actively involved in the final mixing process, providing any support that may be needed to the sound team and re-recording mixers.
Who gave you your first break?
It took a while. Unfortunately, there is no longer a formal path to becoming a music editor. Few projects have the budget for an Assistant Music Editor, a position where you can learn more about technology while providing practical assistance to the music department. Also, my school was not in film, but in art and music. I had two viable, creative careers before moving into the film industry. In retrospect, I think it was helpful to work in visual arts first in order to be conceptually able to bridge the gap between music and moving images. However, I had no idea how the post-production process worked, nor how to get into it. After years of fruitless cold calls to other music editors in New York, a senior editor, Dan Farkas, took a chance and arranged for me to shadow him. First, I was a fly on the wall on the TV series Warriors, just watching him work. After a while, I assisted him on a Netflix series called The Sinner.
What was your first union job?
It’s a small horror film: Blumhouse Productions’ You Should Leave . I was hired to work on the last three weeks of the project: getting the score ready for the mix; re-recording the mix itself; and a few days of preparing the musical deliverable/summary.
What credit or course are you most proud of?
All people. A) Considering how inaccessible this field seemed to be early in my career, I still didn’t believe I could do the job I loved. B) Every credit is meaningful because I can learn more about myself and grow as a professional through each project.
What is the biggest challenge in your job (or on a specific project)?
Most of my challenges are of my own making and the only way to overcome them is to keep trying. I tend to improve my professionalism by starting new projects.
What’s the happiest thing about your job?
I’m having a great time working on a project I’m currently working on. Although I joined the team after the score was mostly finalized, I was still available for recording sessions and mixing of the score. This is a very important part of the process as we bring the story and characters to life on screen by balancing elements, enhancing harmonies and perfecting the mix of instruments. For example, there is a rather solemn scene, with heavy brass underscoring the moment, but by highlighting certain synthetic textures we manage to connect the hero’s sadness with the dreamlike vision woven into the final scene . This allowed us to end the story in the most cohesive way musically.
Work-wise, what do you hope to be doing in five years?
The ultimate hope is to learn how to have more fun in any form of work.
What are your outdoor activities, hobbies and passions?
I’m constantly on the pulse of sound art installations and multi-sensory experiences involving music and taste buds! I’m about to start an online course taught by a Michelin-starred chef exploring the relationship between taste, sight and sound. I’m curious about how all the human senses are connected (which in a weird way is an extension of my professional work). I also have two Lagotto puppies who keep me very busy. They are very musical dogs and I love to compose marches for our leash walks; it’s hard to believe but I find that they behave better on leash if I sing or whistle to them.
Favorite TV show? Why?
I’m a big fan of Noah Hawley’s program. Whether it’s “Fargo” or “Legion,” he made excellent musical choices!
What advice would you give to someone interested in doing your job?
In my opinion, this is a three-dimensional career.
There is a technical aspect and importance to keeping up with the latest music technology, Pro Tools versions, new audio plug-ins, music libraries, cue sheet maintenance software, deliverable requirements, etc.
There is a social aspect. Able to read the room. Understand the nuances and complexities of workplace dynamics. Establish rapport with directors, producers, picture editors, AE, sound department, music directors, composers. It’s a delicate web of collaboration and ideas where everyone wants to be heard.
There is a conceptual component. All of your creative choices are made to support the story unfolding on screen. Therefore, you must have a broad base of knowledge of musical aesthetics and style to support your technical and theoretical choices.
Have you ever been in a situation where you needed to rely on your guild for help or help?
Early in my career, there was a small project that didn’t go the way I had hoped. The East Coast branch representative at the time stepped in and defended me. They also ensure that the hiring party fulfills all contractual obligations, something I might have overlooked due to my lack of experience.
Is there anything you would like to say to guild members?
I sincerely hope that the industry can rebound within the next six months and everyone can get back to work. Fingers crossed that 2025 becomes a new golden age of film and television—although maybe not a Golden Age, but a Bronze Age? It appears to be the most in-demand metal in clean energy technology right now, so we want a sustainable future for all of us at the Guild.
Compiled by David Bruskin.
