Welcome back to Room Tone, I am Hannah Whitlock. My guest today writes music for films, and she has brought a cue that she wrote for a scene that was then re-edited five times after she had finished. Five times. We are going to talk about what that does to a piece of music and to a composer's nerves, why temp tracks are the enemy of everyone, and how she makes eight players in a small room sound like a forty-piece orchestra. She has also agreed to translate the notes directors give, like make it bigger and more emotional, into what she actually changes. At the end we play the cue in three versions, start to finish, so you can hear it grow. You are listening on Witspeak Podcasts.