First the movies were silent, and then early Hollywood composers like Max Steiner and Erich Wolfgang Korngold filled them with sound. By the time “American Graffiti” arrived in 1973 with a chart-topping soundtrack that ranged from Fats Domino to The Beach Boys, it was clear that songs — and not just scores — could be woven into the auditory fabric of a film. Since then, the cinematic relationship between image and music has only grown more exciting, more open-ended, and more liable to get lost in translation.
Fortunately, a brilliant new breed of interpreter has emerged over the last few decades: the music supervisor. And no music supervisor has been more instrumental in shaping the best movies of the last 30 years than Randall Poster. After producing an unsuccessful indie called “A Matter of Degrees” with some of his friends in the early ’90s, Poster realized that his passion for (and encyclopedic knowledge of...
Fortunately, a brilliant new breed of interpreter has emerged over the last few decades: the music supervisor. And no music supervisor has been more instrumental in shaping the best movies of the last 30 years than Randall Poster. After producing an unsuccessful indie called “A Matter of Degrees” with some of his friends in the early ’90s, Poster realized that his passion for (and encyclopedic knowledge of...
- 12/3/2019
- by David Ehrlich
- Indiewire
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