There's always a musical contrast that just works to perfection in almost every movie. When I say that Marty was “the sun,” it’s just because Marty is always so bold in the way he uses music. We inform ourselves and arm ourselves and see what catches our ears. Marty has music that he knows, or a lot of times we reach out to Vince Giordano, a bandleader who's an expert about period arrangements. I would say it's a collective that tries to bring the best to bear. You've worked with Martin Scorsese on several films, and in one interview, you refer to him as, “the sun in our creative constellation.” What is your collaborative process with him? Sometimes it's about how to use music to accelerate slow moments in a movie, or how to use music to romanticize a scene that's not giving the audience enough of an indicator of what might be happening - all of those kind of creative undertakings. Throughout the process, you work with the director trying to figure out how to use music to push the story forward, or music that's playing on the radio, or working with a composer to figure out what's the sound of the movie other than songs, trying to find a logical through line. That's the sort of primary preparation that a music supervisor undertakes. Sometimes we need to bring the players who actually played on camera, and we pre record. Say there's a scene at a wedding: What kind of music is the band playing? How many people can we fit on the stage? What song should they play? Do we need to hire local musicians to perform on camera? Randall Poster: A music supervisor is the person that the filmmaker has to sort of imagine and then execute a musical identity for the movie. KCRW: Can you briefly describe what a music supervisor does? This segment has been edited for length and clarity. NPR contributor and guest interviewer Jeff Lunden talks to Poster about his career in film and television, his work with Martin Scorsese over the years, his long relationship with Wes Anderson, and why finding the right music for a project is such a highly collaborative process. His hundreds of contributions to the big screen include a Grammy nod for the 2022 film “One Night in Miami…” and win for Best Score Soundtrack for Visual Media in 2015 for “The Grand Budapest Hotel.”Īmong his latest projects are Wes Anderson's “ Asteroid City,” Martin Scorsese's upcoming “Killers of the Flower Moon,” and Todd Phillips’ “Joker” sequel. Over his prolific career, Poster has overseen a wide range of music in TV shows like “Vinyl,” “Tiger King,” “The Queen’s Gambit,” and many others. * All proceeds from The Birdsong Project will be donated to the National Audubon Society, the world’s oldest environmental society dedicated to the conservation of birds and their habitats. Credit: National Audubon Society on YouTube And be sure to seek out the accompanying gallery of visual arts.įor the Birds: The Birdsong Project. The work has been donated by writers including Jonathan Franzen, Maggie Smith, Ocean Vuong, and Mary Oliver, with poetry recited by the likes of Bette Midler, Florence Welch, Greta Gerwig, Jeff Goldblum, Matthew McConaughey, Natasha Lyonne, Olivia Wilde, Regina King, and many others. Inspired by these avian calls, Poster produced an expansive collection of 242 original tracks, the final product comprising a mix of music, poems, and visual art. The project aims to celebrate bird songs and to help us understand our impact on birds and the environmental threat they face. During the pandemic, he says, he “ became more aware of birds and bird songs.” He’s since used his connections to create The Birdsong Project with Executive Producer and friend Rebecca Reagan. When he’s not supervising a movie or tv soundtrack, he lends his expertise to other sonic endeavors. Grammy-winning music supervisor Randall Poster has been the go-to sonic selector for Hollywood storytellers with daunting musical needs for nearly 30 years, having produced soundtracks for nearly 200 TV series and films.
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