Supergirl was directed by Craig Gillespie and released by Warner Bros. back in June. The film stars Milly Alcock as the DC character, along with Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet and Jason Momoa.
Nevin Seus served as music editor on the feature and says his involvement started with two phone calls from colleagues who referred him for the role, followed by a meeting with music supervisor Sue Jacobs.
"I met with Sue, (composer) Claudia Sarne and (creative collaborator/co-writer) Nick Chuba, and by the end of that conversation, I was officially onboard as their music editor," he recalls. "What started as a short project to prep for a scoring session at Abbey Road in two weeks, quickly became a high-pressure push to get us through to the end."
Seus set up shop at Claudia Sarne’s home, which is also her writing studio, creative space and the place where she was building the musical voice of the film.
“She had recently taken over the project and was facing a massive challenge,” he recalls, “completing an entire score in just six weeks. My priority became clear: protect Claudia’s creative time. The more I could take off her plate, the more space she had to write and shape the score. I had to become the connective tissue between all the different departments moving at once — editorial, orchestration, scoring, mixing, the final dub team, the studio and the filmmakers. At times, it felt less like a traditional workflow and more building a plane while flying it. But that just meant we had to create a flow that was fast paced, with high trust in each other and systems capable of managing constant handoffs.”
With most of the team based in London and the clock constantly ticking, ideas, picture changes, notes, approvals and revisions all had to move quickly and clearly.
“To make that work, I focused on building enough structure to keep everything aligned without slowing us down,” Seus recalls. “We used Cue DB to track progress, Pix for presenting new material, email threads to gather input/feedback and shared tracking documents to keep everyone aligned. And WhatsApp threads became a lifeline — a running stream of updates, questions, decisions and solutions. With the US and London on opposite schedules — and the picture still evolving — we basically turned the whole process into a 24/7 loop.”
Seus point to a goodbye/flashback scene as a musical highlight, noting how Sarne’s score gently grows, carries emotion and then guides viewers back into the present.
“Through all the playbacks, it still gives me goosebumps,” he shares. “The hardest part was something that’s common for a film like this, meaning with high stakes for the studio and everyone involved — major edits were still shifting when recording began, and this required constant coordination. In the end, what made it special was the group of professionals that stayed 100 percent locked in, trusted each other and found a way to turn a crazy timeline into something we are all proud of.”