Sarah Bridge On The Art Of Music Supervision

Soundtracking with Edith Bowman

Edith Bowman

Music, Tv & Film, Arts

4.6 • 754 Ratings

🗓️ 4 August 2017

⏱️ 35 minutes

🔗️ Recording | iTunes | RSS

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Summary

This weekend mark's our first birthday, and it occurred to us that we've been rather remiss in our formative year in not having featured a music supervisor. So we decided to put that right by speaking to Sarah Bridge, who came highly recommended by one of our previous guests, the Oscar winning John Ridley.

As well collaborating with John on Sky Atlantic's TV series Guerrilla, Sarah has worked on a host of critically acclaimed productions including X + Y, The Sense Of An Ending and The Theory Of Everything. The latter was scored by one of her idols, Jóhann Jóhannsson.

This episode features examples of his score, not to mention music by Max Richter, Femi Kuti, Keaton Henson and Irma Thomas.

But we began by learning about the myriad facets to Sarah's role in the movie-making process.

Transcript

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0:00.0	This weekend marks our first birthday
0:07.9	and it occurred to us that we've been rather remiss in our formative year
0:12.0	in not having featured a music supervisor.
0:15.1	So we decided to put that right by speaking to Sarah Bridge
0:18.2	who came highly recommended by one of our previous guests, the Oscar-winning John Ridley.
0:32.8	I'm Edith Bowman, and you're listening to Soundtracking, the podcast about the sounds of the screen
0:38.0	with directors, composers, actors and now music supervisors. As well as collaborating with
0:44.3	John on TV series Guerrilla, Sarah has worked on a host of critically acclaimed productions
0:49.3	including X Plus Y, the sense of an ending and the theory of everything.
0:55.0	The latter was scored by one of her idols, Johann Johansson, whose title cue from the movie
1:01.0	is playing now. We'll hear more from him later, not to mention Max Wichter, Femmy Couty, Keaton
1:08.0	Henson and Irma Thomas. But we began by discussing what exactly Sarah's role involves.
1:23.2	Sarah, welcome to soundtracking.
1:25.5	I'm really thrilled that you're here because I was saying to you two reasons, A, having another woman on to talk about music and film, but also just to explain about your role and a role that isn't really talked about that much, the role of the music supervisor. Is that your official title?
1:39.8	It is indeed, yeah. How would you describe what your role is?
1:43.8	The role of the music supervisor essentially
1:45.3	is that you oversee all elements of music on a production. So I will be involved with anything
1:51.9	from live on set performances. Yeah. And casting of musicians being on set for the day,
1:57.9	choosing the pieces of music, clearing them in advance of the production, coming on board at script level and working quite closely with the director to understand
2:04.6	and develop what their vision is for the music and a project, through to coming in and post-production,
2:09.6	sourcing composers, commissioning composers, and overseeing score, and helping just develop the sound.
2:15.6	It's a lot of jobs in there. Yeah, it's quite a significant role and lots of elements to take on board.
	...

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