Everyone is a DJ until the film needs approving

Choosing music for a corporate film is a surprisingly effective way to discover everyone’s previous life as a DJ.

Someone wants energy. Someone wants emotion. Someone wants the song from their holiday reel.

We are now making three different films. Unfortunately, there is only one video.

Then comes the suggestion to keep the edit exactly as it is and try a completely different track underneath.

Same cuts. Same pace. Different beat. It’s a bit like changing the dance partner halfway through a lift and hoping everyone remains insured.

I like getting the music conversation going while the film is still taking shape. Who’s watching? Where will it play? Are we building anticipation, explaining something or celebrating people? Is there a voice we need to hear?

That gives everyone something useful to judge beyond whether they’d add the track to their gym playlist.

A quiet opening might give the reveal somewhere to go. A film about people might need a little space to feel human. Even a high energy edit benefits from the occasional moment when everything isn’t trying to win.

Of course, I would like my own music preferences treated as an exception.

Those are creative direction.

Everyone else’s are subjective.