Photo Credit: Dreamworks

As part of our ongoing series featuring Hollywood’s hottest musicians and behind-the-scenes maestros we are featuring an interview with Season Kent, the much acclaimed musical supervisor of the recent film Need For Speed. Her other familiar credits include blockbusters and award-winners like The Fighter, Entourage, Revenge, The Lake House and (my favorite) The Spectacular Now.

We sat down with Season to learn about what it’s like to be one of the busiest music supervisors in Hollywood and how she makes good movies into truly great ones with her top-notch skills and musical know-how.

Moe: Tell us about your supervision of the music for Need For Speed. What preparations did you make or have to consider when cutting the soundtrack?

SK: The vision for the music always starts with our fearless leader – our Director. Scott Waugh knew that just as he was trying to do a modern version of a classic car film, he wants the songs to in the film to operate in the same way - classic songs re-imagined by modern artists. Aloe Blacc became a perfect fit – he did re-imagined covers of “Fortunate Son” as well as “Back In The Saddle”. We also were able to get our hands on a re-imagined cover of Dylan’s “All Along The Watchtower” by Jamie-n-Commons.

Moe: How did you first develop an interest in music? What sort of creative satisfaction do you achieve as music supervisors?

SK: I’ve always been a big fan of music and a big fan of film. When I discovered there was an actual job putting a song to picture – I did everything in my power to make that dream a reality. I went to school for Music Business in Nashville, after graduation moved to LA at age 22 and worked with veteran music supervisor John Houlihan – as his intern, assistant, coordinator then co-music supervising. After 5 years with John, I went out on my own where I did The Strangers, Harold and Kumar Escape From Guantanamo Bay and Street Kings. In 2010, I was offered a music executive position at Relativity Media as day-to-day music supervisor on all of their films (at the time was Dear John, The Fighter and MacGruber to name a few). In 2012, I went back into the world of freelance partnering with Gabe Hilfer to start up our music supervision shingle FULL PURSUIT – we do feature films & television.

Moe: Have you ever composed your own score? If so, how is it different from supervising music?

SK: I stick to find the right songs that work to picture, and leave the original composition to the masters!

Moe: What are some projects that you yearn to do? Is there a film or project coming up that you’d kill to be a music supervisor for?

SK: I’m currently in post on THE FAULT IN OUR STARS, which is a real dream project on all levels – phenomenal book by John Green, an adapted screenplay by the amazing Michael and Scott who did 500 Days of Summer and The Spectacular Now, Producer team at Temple Hill who I love working with (we’ve also done Dear John, Ten Years & Revenge together), and a gifted young Director! This film is extremely special, and I’m so excited about all the musical collaborations we have in the film!

Moe: Did Aaron Paul and/or the show Breaking Bad have any influence on your supervision of the soundtrack? Are you fans of the show?

SK: Definitely a fan of the show, and a big fan of our good friend Thomas Golubic – the music supervisor on the show!

Moe: What advice do you have for aspiring musicians and music supervisors? What specific pitfalls and traps did you encounter as you were working your way up toward success?

SK: Interning is key in this business – and really showing initiative, a positive attitude, good people skills and real passion for music you will be well on your way! And know that it can be a long road.

Moe: What do you identify as “success”? Money, awards, recognition? All of the above?

SK: Helping to achieve my filmmakers musical goals in the project - digging and finding that perfect song for every scene, and also being able to get the rights to use it is “success” in my eyes.

Moe: What do you think is right or wrong with most mainstream soundtracks and/or film scores? How would you change the industry to suit your talents and tastes?

SK: To me, a soundtrack album should always reflect the music actually featured in a film. I’ll never fully understand “inspired by” albums. What’s magical about the job I get to do is connect a song with scene in a film, and if an audience member connects enough with that film and the music, the soundtrack serves the purpose of a momento that they get to take home and instantly transported back into the headspace of that film. It’s really a powerful feeling of connection, memory and emotion. Of course it always does start with a great song connecting in the right way for the film – instead of shoving the labels “priority” song into the scene.

Follow Season on Twitter @Season_Kent (https://twitter.com/Season_Kent) and learn more about her amazing career at IMDB - http://www.imdb.com/name/nm1469536/