When you work as an unpaid intern for months on end, you find yourself often wondering 1) how you got crazy enough to do what it is you’re doing, and 2) if there’s any way it can ever possibly pay off. When I moved here some of the first advice I got was “Don’t be afraid to work for free,” which was a terrifying thought. After having taken that advice to see where it would lead me, I’m proud to say I feel like I’ve reached my first work-related milestone since moving to L.A. almost a year ago, with the recent release of Horrible Bosses.
When I started my first internship, the very first “task” I was given was to read the script, as the women I was working with had just found out the project was going to be theirs. I remember thinking the script was truly funny, but not realizing how big of a movie it was going to be until news started rolling in of more and more stars confirming their roles in the cast. Watching my bosses choose the songs for this film (including flying to New York to meet with one of the more well-known bands to show them the film, thereby persuading them to let us use one of their songs) was always exciting. When and if ever my bosses would ask for my input on their choices, it was always the greatest feeling, even if it was a surreal one. Yet when I saw the first preview, I saw that the music was good, but realized that maybe I was having a hard time processing it’s true effect, after we had spent so many hours pouring over each song and listening to them over and over again. It wasn’t until I saw the final product in theaters just last week that I realized what an amazing job my bosses, along with the composer, had done on the project.
(Almost) every movie has two types of music: score and source. Score is music that a composer writes specifically for the film, to be recorded by a live band, or in many cases, an orchestra. Source music is anything that isn’t score: any pre-existing song that has ownership and must be licensed before we can legally use it. It was really unbelievable to me to see what a difference there was between watching the cut with only our source music vs. the final cut with both our music and all of the composer’s score (a lot of which was recorded by a band comprising of members of the Beastie Boys, as well as Money Mark, an amazing producer and musician who has worked closely with the likes of The Beastie Boys and Beck. We’re not worthy!)
It was incredible, and the difference was so extreme. The composer’s score complimented the feel of all of our licensed songs perfectly, as if they had been conceived together. And, music aside, the movie itself was so well-done: the timing and the acting was so well-matched for this zany yet smart comedy. I feel like I’ve seen a few films recently where I had heard good things about the script and the actors, giving them the potential to be really funny, but the directing and timing seemed to be a bit off. I had the pleasure of meeting Seth Gordon, the director of Horrible Bosses, and I think we’re going to see a lot of awesome things from this very talented, very sweet man. I feel so incredibly honored to have worked with these professionals, and to have been even a small part of this project as a whole. I am beginning to see that not every finished film has this deeply satisfying effect or product, and consider myself very lucky to have such a great and unique film have been the first project I got to really see through.
Since the completion of Horrible Bosses I’ve moved on to Lionsgate, which has its pros and cons of course. I love it, but it will never equal how special and unique the first office I worked in was (that is, if you can even call it an office. It’s more like a candle-filled good-vibes haven). It helps me remember that a lot of the time, you don’t know how good you have it until you’re on the outside looking in again.
The Making Of The Soundtrack Of Horrible Bosses (a small part of the the whole score and source of the movie.)