CAREER STORIES
Definition: How would you describe your path into music supervision? Lucy Bright: I came from the music side, working at record labels. I was lucky that those specific labels had strong links with film – or with composers and artists who had worked in film. I’d always loved music in film, but never thought about the practicalities of how film scores or soundtracks come about. It was just like magic. I started getting a little insight into exactly how that happened; I began to peek behind the curtain. I’d never even heard of music supervisor being a job, which is not surprising because it’s only now getting this spotlight. It was something that just sounded interesting because of that alchemy of music and picture, and I wanted to be part of that – on both the business and the creative side. Def: Can you talk us through the music selection process, with Aftersun ’s use of Under Pressure as an example? LB: Under Pressure was not in the script; Paul Mescal danced to a click track. It
CAREER STORIES
IMAGES A24 Films INTERVIEW Katie Kasperson
Music supervisor on Tár, The Iron Claw and Aftersun, Lucy Bright is immersed in the art of the needle drop. She outlines her 15-year career in what is now one of Hollywood’s hottest roles, from starting out at record labels to working with artists’ estates
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