Music Supervisors & Editors - Harmony In Post.pptx

Panel presentation on the working relationship between music supervisors and editors in television and film.

1. Music Supervisors & Editors: Harmony in Post

2. Overview Through a candid conversation between four experienced professionals, this session promises to be a thought-provoking exploration of the nuanced and often over looked relationship between music supervisors and film/TV editors. They’ll be offering invaluable insights into their collaborative efforts and the profound impact of music on visual storytelling today. Garret Price Editor Tyler L. Cook Editor Brittany Douziech Music Supervisor Yvette Metoyer Music Supervisor

3. TOPIC 1 - Roles Defined In the dynamic landscape of the entertainment industry, the roles of a music supervisor and an editor play crucial yet distinct roles in shaping the final product. This panel aims to delve into the specifics of these roles, highlighting their responsibilities, collaborative efforts, and the impact they have on the creative process. Music Supervisors: The crucial bridge between the creative vision of a project and the musical elements that enhance the narrative (usually outside of original score.) Responsibilities include creative music ideation, music research/clearance and facilitating the creation of original songs. All of this must align with the director’s or showrunner’s vision while enhancing the emotional impact within the scenes. In addition, a deep understanding of musical genres, period trends, and legalities surrounding music clearance and licensing is essential. Editors: The architects of storytelling through visuals and sound. They assemble raw footage, sound effects, and music into a coherent narrative that emotionally captivates audiences. Editors not only refine the pacing and structure of a film or show, but also collaborate with music supervisors to integrate music diagetically and non-diagetically into scenes.

4. TOPIC 2 - The Empty Canvas The panel will explore how a music supervisor and editor collaborate in discovering the musical signature of the show within the emotional needs of the story to elevate the narrative. In most cases, editorial starts well before production wraps, so its in the hands of the editor and music supervisor to find the sonic language of the project. We’ll specifically concentrate on films, pilots and straight-to-series shows where you are essentially working with an empty canvas. It’s not just about finding a great song, but a song that contextually fits under picture allowing an editor the ability to intentionally mold and shape a scene to create maximum impact...while not busting the budget. It’s a marriage between music and image and how they speak to one another. Both of these roles have the ability to creatively inform each other. Often a great song choice will help drive the editorial process and in many cases the assembly of a scene can guide a music search for supervisors.

5. TOPIC 3 - The Politics of Post Production We’ll do a deep dive in how to navigate the politics of post production when making creative decisions and pitches. Music is one of the most subjective elements in modern day filmmaking where options seem infinite. Not only does a editor and music supervisor work together to par down sync options, but they also need to convince directors, producers and ultimately the studio on why a particular song is a crucial building block in the narrative. This topic will include the “Do’s and Don’ts” of collaborating in editorial, specifically highlighting the pitfalls to avoid to create a harmonious collaboration.

6. TOPIC 4 - Temp Love The panel will dig into the beauty and danger of temp music in editorial. It's a necessary tool, but one that can also backfire if not approached cautiously. We’ll tell horror stories of editors going rogue with music and how that can become catastrophic if a music clearance is unobtainable. We’ll also talk about how collaboration as early as possible when using temp can create positive experiences in finding the musical tapestry of the project.

7. TOPIC 5 - Challenges: Today and Tomorrow From navigating budget constraints to managing creative differences, both music supervisors and editors face unique challenges in their roles today and into the future. The panel will discuss strategies for overcoming these hurdles while maintaining artistic integrity. As technology evolves and storytelling techniques advance, the roles of music supervisors and editors continue to evolve. The panel will explore emerging trends such as AI-driven music curation and production that will shape the future of entertainment.

8. PANEL BIOS Garret Price has worked on dozens of acclaimed films, television shows and documentaries as an editor. His latest projects include Amazon’s Daisy Jones and the Six , Hulu’s Under the Bridge and Tiny Beautiful Things  and most recently  Surface   for Apple TV+.  He's collaborated with visionary filmmakers including Drake Doremus, Ed Zwick, Amy Berg, Jason Katims, Bryan Fogel and James Ponsoldt. In addition to editing, Price directed the critically acclaimed HBO documentary  Woodstock 99: Peace, Love and Rage .  His previous documentary  Love, Antosha premiered at the Sundance Film Festival in 2019.  Brittany Douziech began her career at FUEL TV, in the music department. She then became the in-house Music Supervisor for Banijay North America. Recent projects include The Long Game (SXSW Audience Narrative Award (2023), and the documentary,  Body Parts  ( Tribeca, Doc NYC, AFI, Starz). In addition, Brittany collaborates with music supervisors Joe Rudge and Frankie Pine, contributing to Amazon’s Daisy Jones & the Six  (Emmy-nominated for Outstanding Music Supervision),  A League of Their Own , Hulu’s  Life & Beth , and Netflix’s  From Scratch . She is a member of the Guild of Music Supervisors and the Television Academy.

9. PANEL BIOS Tyler L. Cook is a Los Angeles based TV & Film Editor who has edited many critically acclaimed and award winning television shows including  Under the Bridge, GLOW ,  Daisy Jones & The Six, & Sunny . He was nominated for Best Editing at the  Independent Spirit Awards for his work on the feature film  Sword of Trust , directed by Lynn Shelton, which premiered at SXSW in 2019. Yvette Metoyer started her career as a music coordinator on the Emmy-award winning series, Breaking Bad , as well as the follow-up Better Call Saul and The Walking Dead . In 2020, Yvette founded Sounds In Color, LLC. Currently she co-music supervises the hit Amazon original series, The Boys and its spinoff series Gen V . In addition, she’s supervising the Fox drama series, The Cleaning Lady and BET’s Tyler Perry’s Sisters . She is a member of the Guild of Music Supervisors and the Television Academy Music Peer Group.