How does a composer write music that doesn't draw attention to itself? How can a director convey scoring ideas if they're not a musician? Why is temp music important for an editor? When should sound design reflect the real world, and when should it be from a character's psychological perspective? Will the dialogue editor choose the lavalier or boom mic recording, or both? These are just a few of the conversation-sparking questions we discuss in today's Composer Quest podcast episode (the season six finale!), featuring the team behind the upcoming film Twin Cities. You'll get to hear perspectives on film sound from a director/writer (David Ash), producer/editor (Jason P. Schumacher), sound designer (Mike Hallenbeck), and composer (me). We dissect the entire post-production sound process, from a spotting session with all four of us, to our experimental on-the-spot scoring session, which was very productive and slightly nerve-racking for me as the composer.