The music editor is a type of sound editor in film responsible for compiling, editing, and syncing music during the production of a soundtrack. Among the music editor’s roles is creating a “temp track”, which is a “mock-up” of the film’s soundtrack using pre-existing elements to use for editing, audience previews, and other purposes while the film’s commissioned score is being composed.
John M. Davis is one of the most talented people I have had the pleasure to interview. Just go to this website http://www.johnmdavis.com and explore his world of music.
Matthew Toffolo: I love the photo of you on your website. It describes who you are in one picture. Composing attire. The dog you obviously love. Cup of coffee. Piano. A rocking chair for thinking. Art Work. And a relaxed but determined look on your face. As they say, a picture says a 1000 words, or in your case a 1,000,000 words!
John M. Davis: I’m glad you like it. I don’t photograph particularly well, so I find all the accoutrements more interesting than me. I do like that piano; it’s a 1954 Steinway we inherited from my wife’s grandfather. The dog is a whole Russian novel in himself.
Matthew: From an outside perspective, it seems like you’ve mastered the balance of working on your pet projects while being a successful Music Editor for Hollywood productions. How does one do it?
John: I wish I knew. I like the camaraderie and diversity of different projects. I would like more jobs as a composer, but composers don’t have a union while music editors do, with pension and health insurance. If I only composed for the small films and documentaries that I do then I couldn’t support a family. I love playing live music for silent films, but only a handful of humans on the planet can make a living doing that. When I retire from music editing I’m planning on composing large scale works for orchestra. Whether anybody wants me to do that is an open question.
Matthew: Do you have a musical mentor?
John: Not really. Music is something I’ve always done. I was arranging for bands and choirs from junior high on. I went to NYU film school with the intention of becoming a director or screenwriter, but over time I discovered that my musical abilities were more unique and more marketable.
Matthew: Out of all your personal projects, what are you most proud of? And what would you love to share to our audience?
John: Next Saturday I’m performing a live score with a quartet to the 1929 Dziga Vertov documentary “The Man With a Movie Camera” at the American Museum of the Moving Image in Astoria, Queens. I’m very proud of my performances at the Pordenone Silent Film Festival in Italy. Early filmmakers saw cinema as the synthesis and apotheosis of all the arts, and live silent film music is the purest manifestation of music to picture. Everything else we do — recording, editing, mixing under dialogue — is all a diminution of that ideal.
Matthew: Out of all your Music Editor work, what film was your best working experience?
John: Working on a musical is the best. “Black Nativity” was a film that almost no one saw, but I was on the set every day during the shoot, and I was involved in the entire post-production. Nothing is better than having Jennifer Hudson in a church singing her heart out, capturing her live performance and using that in the final mix. There were a lot of technical challenges involving playback, using earwigs (tiny radio controlled ear pieces), microphones hidden in her hair. Then there was the tap dancing, the modern dance, choirs, the works! “The Producers” was also fun, especially when we could use the singing recorded on set and not the pre-records.
Matthew: What is the difference, if any, between working on a narrative film compared to working on a documentary?
John: Some documentaries are very narrative, so you might score a montage the same way in either format. A very dry talking heads type of documentary usually doesn’t support much music. Some of the greatest scores of all time were written for documentaries.
Matthew: How do you choose your jobs? From working on short films to doing (more) paid work? It is all about the story?
John: The more important consideration is the people you’re working with. That said, in my experience the jobs choose you. My phone rings just enough to keep me working throughout the year. If I hit a dry spell it doesn’t last too long. A few years ago when “Flight of the Conchords” was shooting in New York I thought “this is the perfect project for me!” Unfortunately I had no idea how to get hired on it.<
Matthew: Ideally, where would you like your career to go in the next 5 years? More passion projects? More sound designing? Working on bigger productions?
John: I would like to have composing be a more regular part of my work. Right now it seems like it’s about 15% to 20% instead of 50%. However, part of that is preconceptions. If people see you as a music editor then they don’t think of you as a composer.
Matthew: What are the key qualities to be a great music editor?
John: Surprisingly it’s not musicianship. Being a musician is a help, but some of the more mad-scientist musicians I know would be terrible music editors. The main requirement is being organized. You have to keep track of the music, know which version is where, know how to fill out a cue sheet. If you’re a musician who keeps their hard drive very tidy and doesn’t have a lot of files on your desktop, then you could be a music editor. It goes without saying that you have to be able to cut on the beat, and you have to know something about musical structure. You also have to get along with the director and the composer.
Matthew: What film, besides the ones you’ve work on, have you seen the most in your life?
John: I’ll say “Close Encounters of the Third Kind.” That’s the only film poster I have in my studio. John Williams has said that it is his favorite score, and I can see why. The music is the means of communication between worlds. It goes from drama to action to the most modernist and atonal to romantic, and the story is more ambitious and multi-continent expansive than almost any film before or since.
Matthew: What is your favorite era in music history?
John: Despite my love of silent film, the best music was written later, in the 40’s to the 70’s — the Golden and Silver ages: Steiner, Korngold, Herrmann, Mancini, Williams, Goldsmith, Morricone. The fact that two of them are nominated this year for an Oscar is amazing.
Matthew: Do you see your job as a Music Editor changing because of technology in the future?
John: Well, Pro Tools 12.5 will make my life easier, if it works as advertised, because I’ll be able to update a co-worker with the push of a button. The new Melodyne 4 has a tempo detection function that I plan to put through its paces. I’m always extremely up-to-date, and I’ll upgrade the very day something is released.
On the other hand, technology can make music too rigid, which works for a very few films. I look forward to the day when technology makes it easy to capture the inspiration that happens in a spontaneous silent film performance. It should be as fast to write notes in a notation program as it is on a piece of manuscript paper. We’re getting there. Technology should become more intuitive and bend the learning curve back to the humanistic. It should capture lightening in a bottle, not turn out glass bricks. Music is emotion.
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go tohttp://www.wildsound.ca for more information and to submit your work to the festival.