Variety has published a very cool article on how music shapes sound effects.
There’s a long history in film of finished musical scores being rushed to the final mixing stage and then being shoehorned in amid the dialog and effects in a sometimes contentious battle over sonic real estate.
But in recent years, more directors have turned to composers earlier in the filmmaking process, so audio post teams can do sound effects, Foley and pre-mixing with more finished elements, easing the big crunch at the end.
On a few of 2010’s tentpoles, in fact, the score was in place so early the sound effects were built to work with the music, not the other way around.
via @lydrummet