Today we’d like to introduce you to Chris Newlin.
Chris, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
I’m a music editor for film, television and other visual media. Currently, I’ve been working for the last 7 TV seasons with Wolf Films on the NBC shows “Chicago Fire”, “Chicago PD”, “Chicago Med” and their newest show on CBS, “FBI”. I’ve also done “Chicago Justice”, “Law & Order True Crime: The Menendez Murders” with them, totaling over 400 episodes/hours of television in just seven years. It’s been a wild ride! In between the TV seasons, I’ve worked on feature films like “Pitch Perfect 3”, “Ride Along 2”, and the upcoming remake of “Jacob’s Ladder”.
I also compose original music. I played guitar and did additional music with composer Paul Haslinger on films such as “Death Race”, “Underworld 3: Rise of the Lycans”, and “Takers”, and more recently compose for commercial spots when I have the time in my crazy schedule.
Currently, I’m working on an EP of instrumental electronic music with some friends and collaborators. It’s very much a personal passion project/work in progress, and we hope to share it before the end of the year.
Great, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
I consider myself lucky in many ways, both to have met the ‘right people at the right time’, and to have opportunities I could take advantage of when they presented themselves. It wasn’t always easy…this industry demands long hours and low pay for a long time, and I remember at one point telling my father I was ready to come and work for the family business. Thankfully he supported and encouraged me to hang in there and shortly afterward, things started to shift. I do believe that with a combination of perseverance, the right attitude and even just a little talent…you can find a home in this business. However, it’s not for everyone, and it definitely takes a certain type of personality to survive, let alone thrive. Recognizing that within yourself and those you work alongside is vital if you’re going to make a go of it in this field.
There was a moment when I actually had to step out and deal with some issues with the family business after my father passed away. It was at a time when things were really starting to snowball for me in my career. I ended up being ‘out’ for about two years, and I thought I’d never be able to recover. But I had always kind of kept one foot (or at least a toe) in music editing/composing, and I was fortunate enough that a music editor I had worked with before pulled me in to work on HBO’s “Luck” (no irony there), which became my saving grace and spring-boarded me right back in…this triggered a series of relationships/events and was the catalyst to the Wolf Films work and who/where I am now.
That whole experience with the family business, while a difficult and generally miserable time in my life, gave me a TON of perspective coming ‘back’ into the entertainment industry, and allows me to appreciate what I get to wake up and do, even amongst the chaos and deadlines. I appreciate every minute of it.
Please tell us about Mighty Goldfish Music.
A lot of people have never heard of a music editor before…and if they actually have, they generally have no clue what they do. In fact, I’m pretty sure most of my family and friends outside of the industry still aren’t really sure! But they are proud and appreciate the projects I work on nonetheless.
I look at music editors as a conduit between the filmmakers and the music. We act as both the liaison between the directors/producers and the composer, navigating/translating across the creative and political landscapes, as well as helping to figure out the puzzle of what songs work for which scenes. Whether it’s background music in a specific location, live performances on screen, or a song that drives a moment or has ‘just the right’ emotion for a dramatic montage. Ultimately, it’s all about telling a story and how to best serve and enhance what’s on screen.
Music editors are also often hired on a project before a composer is brought on to create what’s known as a temp score. This not only serves as a sonic template for a composer to utilize but also allows the filmmakers to find a tone/sound for the music of the film or show, as well as provide pacing and placement for the scenes that require music. To me, this is the most creatively fulfilling part of our job…Helping to shape and develop the sound of a project. Some composers actually prefer to shy away from a temp score, as it can inadvertently influence them or push them in a direction they may not have gone with a blank canvas in front of them, but it can also be a lifesaver. Particularly when schedules are tight and there’s less time to conceptualize the score…or when the filmmakers are quite particular and maybe have grown too fond of the music in their temp. Often referred to as “temp love” in the industry.
I certainly tend to lean a bit left of traditional scoring in my approach when both temping and writing scores. Having come up in bands and enjoying everything from heavy rock to abstract electronic music in my formative years, I feel it’s my strong suit and allows me to bring a different perspective to the storytelling and vibe of a score (or at least that’s the goal). It’s always fun and inspiring to see how far you can push the boundaries and try more out of the box concepts….it may not work all the time, but you never know unless you try.
Do you look back particularly fondly on any memories from childhood?
I’d say there’s an amalgam of music-related memories for me growing up. Whether it was learning how to use my dad’s turntable at six years old, making mix tapes of my favorite songs, or just long road trips staring out the window with my walkman (and later discman). I could get lost in the music for hours staring at the changing landscapes. All of it shaped who I am today and played a vital role in my life.
My current obsession with Vinyl may have a bit to with wanting to return to that. Music has become so disposable with the advent of streaming music. Don’t get me wrong, I LOVE that pretty much anything you could ever want to listen to is at your fingertips and it allows for even more discovery…it’s just that there can be a lack of a relationship/intimacy with music today. Putting on an LP means a commitment, if only for one side. Where you can sit with the artwork, lyrics, and liner notes and immerse yourself in the artist and their music and enjoy the journey.
Contact Info:
- Website: chrisnewlin.com
- Email: chrisnewlin@mac.com
- Instagram: @chrisnewlin
- Other: https://vimeo.com/channels/chrisnewlin
Image Credit:
Eisen Nepomuceno, Robert Edmondson, Chris Newlin
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