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You shoot. He scores

The best time to contact a composer, notes la-based Joel Goodman, is half-way through the rough cut, after the film has begun to take shape. Goodman recalls once being asked to work on a five-hour rough cut of what would become a 90-minute film, offering lots of wiggle room for everyone involved. Ultimately, he notes, 'that wiggle room gets wiggled.'

July 1, 2007

The best time to contact a composer, notes la-based Joel Goodman, is half-way through the rough cut, after the film has begun to take shape. Goodman recalls once being asked to work on a five-hour rough cut of what would become a 90-minute film, offering lots of wiggle room for everyone involved. Ultimately, he notes, 'that wiggle room gets wiggled.'