Music editor Dan Brown, represented by UK Film & Music
Dan Brown
Music Editor Dan Brown joins UK Film Music as it underpins its position as a first-class deliverer of all aspects of a project’s music department.
Always in demand, Dan is currently music editing the second season of The Forge Entertainment’s THE BUCCANEERS for Apple TV and, currently broadcasting on NBC, is the ground-breaking natural history series THE AMERICAS, narrated by Tom Hanks, for which Dan was the re-recording mixer. Working with long term collaborator Stew Jackson, Dan music edited AMERICAN SONS a feature diary-documentary that charts a brotherhood of Marines a decade after their deployment to Afghanistan, grappling with the challenges of transitioning to civilian life and struggling to overcome physical and emotional trauma from intense, prolonged combat and monumental loss.
In 2022 Dan music edited Netflix’ animated feature SCROOGE: A CHRISTMAS CAROL, directed by Stephen Donnelly and in 2023, Poison Chef’s thriller feature THE LESSON, directed by Alice Troughton.
Other recent television credits include seasons 2 and 3 of Sky’s smash-hit, animated, family series MOOMINVALLEY featuring the incredible voiceover talents of Rosamond Pike, Taron Egerton, Matt Berry and Kate Winslet; SPENT, a comedy drama created and written by Michelle de Swarte who plays Mia, an ex-model in a high fashion, low fund 6-parter that sees her world come crashing down, and the second season of international award-winning drama THE TOURIST starring Jamie Dornan and Danielle MacDonald.
Notable too is that Dan worked as both score producer and music editor on Jez Butterworth’s MAMMALS, a comedy drama starring James Corden, who plays a chef whose world implodes when he discovers secrets about his pregnant wife.
A real asset to any music department, in addition to music editing, Dan is a producer, mixer and songwriter who has contributed to the music on Carnival Film and TV’s THE DAY OF THE JACKAL, BBC’s PLANET EARTH III and natural-history documentary series DYNASTIES both series devised and narrated by Sir David Attenborough.
Trivia: Dan has also co-written trip hop sensation MASSIVE ATTACK.
Why hire a composer to produce your score.
All film makers, directors and game producers want really good music for their story and content, and can choose from getting stock music or hiring a composer.
A lot of filmmakers will choose the former simply because they find it easier and cheaper than dealing with a composer. After all, a composer usually will cost you anywhere from 5% – 10% of your budget. But there are some really strong reasons why you should hire a composer instead.
The music will fit your story.
You’ve gone through the agonising process of making sure every little detail has been followed. All of the late nights deliberating over the script, coaching the actors, and ensuring your DP has every shot planned and executed to run how you planned it.
Music is just as important.
There have been great movies that just fell flat because the music just wasn’t good. Likewise, there have been some okay films that got a significant boost by having a great score.
A consistent and professional score applied to your scenes is transformative, and only adds to your story. Not to mention, its’ feel and design is more tailored for your vision.
The composer is your confidant and shares your vision.
As a filmmaker, the composer is one of the first few people that you will share your vision with.
A good composer will give you feedback on your story that you can’t get anywhere else, not just with music ideas, but ideas on your film as a whole. The synergy between a composer and a director is unmatched. As a filmmaker you have to interact with a lot of people. But composers generally care more about the director’s vision and the one on one relationship and bond created between the two.
Composers impress a special character and emotion for the film.
Point of view is so important with film scores and scenes. Good composers are always interested in this angle. How the music plays out in a scene, can be carried in so many different ways. If you have a scene where a victim is being strangled by a murderer, the point of view really dictates the music. If the point of view is the victim’s, then fright and shock could be applicable. Conversely, if the point of view is the murderer, then the music might display power and awe. In addition, composers will offer contrasting point of views for you to think about. Maybe there wasn’t something you were thinking about when you made the film. Also, composers are interested in motifs and things that might hold scenes together. This is a more difficult concept to grasp at times, but once embraced can make your film even more professional and enjoyable to watch.
You don’t have to research or jump through hoops legally.
When you work with a composer, you will either have the full rights to a score, or a master license agreement. Either way, you know up front exactly what your options are as far as using the music.
Most composers will give filmmakers broad and open rights to use the music created in any way they see fit. And if it’s a work for hire, of course you own the rights to the music outright. If and when the time comes that you want to strike a deal with someone for your film, you know full well the music in your film can be used anywhere.
Finally, Composers become part of your team.
Sometimes establishing trust and communication can be difficult. But once established, it is something that you can rely on going forward. With each step you take as a filmmaker, you know that composer is with you. And the composers’ main goal is to help you tell that story in the most special way that it can be told. The composer is someone who shares your vision, and ultimately wants to give you something they feel is special and unique just for you.