Dan Lieberstein has been Sex and the City's Music Supervisor and Editor since the first season in 1998.
We spoke with Dan about his working process and what factors influence his musical selections for Sex and the City.
Walk us through how you determine what music to use for a given episode/scene?
It's very much a team effort that begins as soon as the first rough cut is completed. I start off by working closely with the picture editors (Michael Berenbaum and Wendey Stanzler). We review and discuss each episode and arrive at a musical direction for the scenes that we feel should be underscored with music. Sometimes the editors or I will have specific ideas in mind but more often the ideas evolve as we talk. After we screen, my assistant, Debra Victoroff, and I, spend several hours listening with the screening notes in mind. Then I review our choices with the editor and so it goes until we feel that we've found the music that really works for each scene.
At this point the director sees the show with our "temp" score and offers
his input. Finally, the show is reviewed by our executive producer, Michael
Patrick King who has "final cut" approval. We've all worked with MPK for
years, and are very tuned in to his musical sensibilities. From the very
beginning we make our choices with him in mind. He's usually happy with
about 80-90 percent of the music we pick but sometimes he offers a different musical direction or he just might not like a particular cue.
How do you determine when to use an instrumental piece?
Darren Star found vocal tracks distracted him from the dialogue and MPK has definitely followed in that tradition. We rarely use cues that have lyrics. Also, we've established a style on the show where we never allow the lyrics of a song to say the same thing that the dialogue is saying. When we do use lyrics it's to support the emotion of the scene without overstating it.
What type(s) of music do you listen to, and what influence does it have on the selection process?
We receive about 15-30 CDs in the mail every day! Debra and I constantly
listen to every kind of music that you can imagine. It really isn't what we
personally listen to that influences our choices; it's all based on what the
stories or shows need. We work without a composer so I need to be able to come up with music that fulfills all of the varied moods and needs of the show. I am, in a very real sense, "scoring" the show with pre-recorded music and we use an average of between 10 and 15 cues per show. Sometimes the direction is easy and immediate - i.e. if the girls are at a hot singles club you know exactly what you're after. However, scenes that are emotionally powerful are traditionally scored by composers. Finding music for those moments is by far the greatest challenge for a music supervisor. When I come up with an unusual way to musically support an important emotional scene, that's the most rewarding part of my work.
Does the show's NYC setting play a large role in your music selections?
We often need to score the activity and excitement of the city but that's
secondary to the emotional needs of the show. The goal is to score the
emotional content and, at the same time, find music that feels organic to
the scene's location. For example, in this season's "Ghost Town" episode,
Carrie runs into Aidan at Steve's new bar. She still has deep feelings for
him and wants to get back together. The music playing at the bar during that scene is a new song by Everlast, "Love For Real." It's a realistic choice for the bar and, most importantly, it powerfully underscores the scene.
Do each of the four girls inspire a specific kind of music or artist for you?
Yes because their characters are so unique and well defined. Carrie's music is mostly determined by the emotional questions she raises in each episode. Miranda's music is usually thoughtful, classical, and intellectual.
Samantha's is either jazz (remember she met her true love at a jazz club - unfortunately he was anatomically challenged); or some sort of quirky music that supports her erotic adventures. Charlotte's music is usually playful and light-hearted.
Of the current season, what episode scene music are you most proud of?
I guess I'd have to choose episode 5, "Ghost Town." I loved using The Pirates of
Penzance for the scene with Charlotte and Trey and I thought that the Lenny
Kravitz and Everlast songs were great choices for the opening of the Scout
bar.
What's your favorite part of your job?
I love what I do. I think I'm very fortunate to be able to spend my time
working with talented people like the editors and producers on this show,
especially Michael Patrick King who never fails to make me laugh. I also get to work with some of the most talented musicians in New York. My favorite part? It's finding just the right piece of music after a long difficult search.
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Just a Kiss - Music Supervisor
Red Square - Music Supervisor
Cradle Will Rock - Temp and Final score editor
Beloved - Music Editor and Conductor
One True Thing - NYC Music Supervisor
Addicted to Love - Final score editor
Marvin's Room - Temp and Final score editor
Flirting With Disaster - Final score editor
Devil's Own - Temp score editor
Hank Greenberg - Music Supervisor/Editor
Operation Condor - Final score editor
Cosi - Final score editor
Kicked in the Head - Final score editor
Visionaries - Music Supervisor/ Editor
Tears of Julian - Temp score editor
Vibrations - Music supervisor/Editor
Beat Street - Final score editor
Television
Sex and the City - Music Supervisor/Editor since its beginning in 1998
The Corner - Music Supervisor/Editor
The Mob - Music Supervisor/Editor
Liberty - Music Supervisor/Editor
The Boys Next Door - Music editor
The Equalizer - Music supervisor and Producer
Dreamstreet - Music supervisor and Co-producer
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