There is so much detail and elements to the work that Wright, a successful tv and film composer, produces. Her work is very much guided by emotional shifts on tv and screen. Motifs and different scores were used to highlight important moments and also keep the story/plot going.

Wright speaks about how cues can sometimes be rejected and that it is very much tied to the scene and feel the director is going for. Rejection doesn’t necessarily mean you have a bad cue, just that the vision is different. It was fascinating to see all of Wright’s different cues before the one that was used in the actual scene.

In terms of Lindsay’s technique importing videos into logic and syncing sound is extremely difficult and pro Tools has a two-second lag, instead, a program called video sync works really well for her. For organization wright’s tracks are color-coded.

I was interested in Wright’s philosophy of deciding what direction to move in: Write what you want to write and try to get jobs that way or try out a lot of different genres and accept a wide variety of jobs. It’s important to decide on your own philosophy and let that guide you on what jobs you take on.

spotting session- watch the film and decide where music might fit.

Composing with diegetic sound works best with highly stylized films. ex.Hannibal