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Randall Poster is an American music supervisor and a long-term collaborator with Wes Anderson. He worked on the films Skyfall (2012), The Wolf of Wall Street (2013), The Grand Budapest Hotel (2014), and The Irishman (2019), as well as the TV series Vinyl (2016).
Randall Poster's (Music Supervisor) talent for creating distinctive film soundtracks was on display in two of the past year's most memorable music-driven feature films: Martin Scorsese's The Aviator and Wes Anderson's The Life Aquatic with Steve Zissou.
Randall Poster is known for Divergent (2014), The Grand Budapest Hotel (2014) and Carol (2015).
- Music Department, Producer, Actor
- Randall Poster
Mar 27, 2016 · Poster spoke exclusively with Den of Geek about some deep cuts that he helped carve into our cinematic memories and his thoughts on what people wanted to hear Elvis Presley play in concert.
- What Are The Key Elements of Your Role as A Music Supervisor?
- How Did You Go About Becoming A Music Supervisor?
- What Was The First Movie You Worked on as A Music Supervisor?
- Of All The Films You Have Worked ON, Which One Stands Out and Why?
- What Do You Most Like About Your Job?
- How Would You Characterize The Role of Music in Film?
- How Do You Go About Researching and Discovering Music?
- Do You Use Original Music Created For Other Films?
- Do Musicians Get in Touch with You directly?
- Can You Say Something About Why Copyright Is Important?
I work with the director and the producer to develop and execute a musical strategy for the film. What I do in the process of making a movie depends on its inherent musical character. Some movies have a very strong and dynamic on-camera musical element with actors or musicians performing on camera; but for others, the challenge is to identify the r...
I have always been into pop music, record collecting and going to the movies. After I graduated from college, some friends and I decided to make a movie. It was called A Matter of Degrees. We developed it at the Sundance Institute and did a big soundtrack with Atlantic Records. The movie itself didn’t fare very well commercially, but in making it I...
The first two movies I worked on were Kids written by Harmony Korine and directed by Larry Clark and The Crossing Guardwritten and directed by Sean Penn. They were both released in 1995. Since then I’ve worked on around 120 films. While there are certainly similarities, each film and each experience has a bit of its own DNA.
There are so many films to which I feel deeply connected, but the great break in my career was when I managed to start working with directors who kept making movies. I have worked on eight Wes Anderson movies (including The Grand Budapest Hotel), eight films with Todd Phillips (including The Hangover), six films with Todd Haynes (including I’m Not ...
What I most enjoy are the moments of musical discovery, when a fortuitous marriage of music and image enhances the moment in an unimaginable way - when the musical element brings something to life and brings context to a cinematic moment that had been dormant.
It is hard to imagine a movie without music. I would only condemn my enemies to watching movies without music! Music plays a different role in different films. Sometimes it is used to set a story in a particular time frame or era. Sometimes music is the motor that drives the story forward. Sometimes it is a moment of emphasis or a moment of clarifi...
Once I have a brief from the filmmaker, I research by any and all available means. The story is the guide but there is also a certain instinct in terms of whether something is going to work or not. I may go back to period journals, read critics, look at the old charts or interview people who are experts in a particular area. I work very hard to rem...
Sometimes we do. For example, when I worked with Wes Anderson on his film The Darjeeling Limited, his vision was to use music from the films of Satyajit Ray as the primary musical element and I think it worked out perfectly. On other occasions when you are working with brilliant directors, the film, the imagery, the dialogue and the music evolve co...
Sure, every day. But more often than not, I am not working on anything that needs the musical elements they offer. When I find things that I think are interesting or compelling, I certainly put them away for when the right moment arises. I am surrounded by a lot of music. My cataloguing system is not quite as good as it could be.
I think it is important to respect artists’ rights. I spend much of my day negotiating for these rights and I see the value in these compositions and recordings and I want to preserve those creative boundaries. In working with my filmmakers I put a lot of effort into creating a very strong musical impression, and I do not want to see those construc...
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