We’re excited to introduce you to the always interesting and insightful Maggie Talibart. We hope you’ll enjoy our conversation with Maggie below.

Maggie, thanks for taking the time to share your stories with us today Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.

I learned to be a music editor through a combination of formal education, hands-on experience, and mentorship. Studying at Berklee gave me a strong foundation in music theory, arranging, and production, but the real learning happened when I started working on actual projects.

My first introduction to the craft of Music Editing was a mentorship with Nick South. Working with him gave me my first real hands-on experience as a music editor, on two indie films—’North Star’, which we dubbed in London, and ‘Everything’s Going to Be Great’. These projects were my introduction to the full scope of music editorial, from handling temp scores to navigating the complexities of dubbing in an international setting.

Working with Ted Caplan on Kingdom of the Planet of the Apes and A Complete Unknown last year refined my skills in handling complex editorial challenges—whether it was restructuring a cue to fit a changing edit, smoothing transitions between score and source music, or helping maintain musical continuity across scenes. Ted’s approach to storytelling through music taught me the importance of nuance and precision, and working alongside experienced editors helped me see the bigger picture beyond just cutting to timecode.

Looking back, if I could have sped up my learning process, I would have focused more on understanding the editorial workflow in post-production earlier. Knowing how music fits into the larger picture of sound design and final mixing would have made me a stronger collaborator from the start.

The most essential skills for this job are musical intuition, technical proficiency, and communication. You need to anticipate a director’s and composer’s needs, work efficiently in Pro Tools, and be able to justify your editorial choices. Organization is also crucial—keeping track of versions, cues, and changes in fast-paced environments.

One of the biggest obstacles in learning more was simply access—getting into rooms where these high-level discussions about music and picture were happening. Early on, I wasn’t always in those meetings where directors and composers made key decisions, and that limited my understanding of the bigger creative process. But once I started working more closely with an editorial team and sitting in on mix sessions, it all started clicking. The more you immerse yourself, the faster you grow.”

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

My name is Maggie, and I’m a music editor, composer, and creative collaborator working in film and television. I’ve always been drawn to the intersection of music and storytelling, and my journey into this industry has been a combination of formal training, hands-on experience, and incredible mentorship. I studied at Berklee College of Music, where I developed a deep understanding of composition, arranging, and production. But my real education came through working on actual projects—first in the indie film world and later on major studio productions.

As a music editor, my job is to bridge the gap between composers, directors, and sound teams—ensuring that the music serves the story in the most impactful way possible. My work includes:
– Editing and placing music to fit a film’s narrative and pacing.
– Restructuring cues to adapt to last-minute picture changes without losing musical integrity.
– Creating seamless transitions between score and source music.
– Shaping the emotional arc of a scene through careful music placement.
– Collaborating with composers and directors to make sure their creative vision translates to the final mix.

If you’re a director, composer, or producer looking for someone who understands both the technical and creative sides of music editing, I’d love to collaborate. I’m all about helping music and story come together seamlessly, and I’m always looking for projects that push creative boundaries.

What can society do to ensure an environment that’s helpful to artists and creatives?

My career exists because people have been kind, supportive, and willing to give me a chance. The film and music industries can feel like an impenetrable fortress, and often, you need a Trojan horse just to get inside. Breaking in isn’t just about talent or hard work—it’s about finding people who see potential in you, take the time to mentor you, and open doors that would otherwise stay closed. I’ve been incredibly lucky to meet so many creatives who not only excel in their craft but also believe in welcoming and encouraging the next generation.

I think mentorship opportunities are so important; they are the only real effective way to learn a craft. It’s so important to connect established artists with emerging talent. I also believe a thriving creative ecosystem includes financial support for creatives—through grants, funding, and fair pay for work at all levels. Furthermore, a culture that values risk-taking is so essential—because great art often comes from people who were given space to experiment and fail before they succeeded.

Art isn’t created in a vacuum—it’s built on collaboration, shared knowledge, and support. The more we invest in lifting up new voices and breaking down barriers, the stronger and more exciting our creative industries will be.

What do you find most rewarding about being a creative?

I’ve loved film for as long as I can remember, so the most rewarding part of what I do is getting to be a part of that massive creative and practical process that brings a story to life. It’s incredible to see a film evolve from the early stages of post-production to the final cut, and to witness firsthand how many talented people—editors, composers, directors, sound designers, mixers, and so many more—contribute to shaping the final product.

Being a music editor means I get to bridge the gap between music and picture, helping to refine and shape the emotional impact of a film. Seeing how the music transforms a scene, how timing and subtle changes can completely shift the audience’s experience—it never gets old. It’s such a collaborative process, and I love being a part of the problem-solving, creative decision-making, and technical refinement that happens along the way.

What makes it even more rewarding is sitting in a final screening, knowing the journey it took to get there. Every project is a unique challenge, but in the end, it’s all about telling a story in the most powerful way possible—and getting to contribute to that is what makes this work so exciting.

Contact Info:

• Website: https://www.imdb.com/name/nm15100735/?ref_=nv_sr_srsg_0_tt_1_nm_7_in_0_q_maggie%2520talib
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