“We cracked on with mixing episodes without the score. When Joel Haines was on board and the score completed, it was only a few hours work to complete an episode. It’s not something you could do on every show. It wouldn’t work on Westside, for example, because the score is much more a character, and uses well-known tracks.”
I&S is busy at the moment, with the third season of Westside beginning post soon and Wanted, currently shooting down south, due in the new year. They’re also in the midst of a strong run of documentary features.
Roger Donaldson’s McLaren is currently working its way through I&S, with editor Tim Woodhouse and producer Fraser Brown wrangling a substantial amount of archival footage. I&S has also been working on another Matthew Metcalfe production, Toa Fraser’s The Free Man (fka Welcome to the Thrill), alongside Annie Goldson’s Kim Dotcom doco, Caught in the Web, which Alex Behse is producing.
There are always things you can better, or differently, Hawkins notes. Sometimes you change the thing, sometimes you change the way you do the thing. “It could have been darker, or more comedic, but fundamentally we’re happy with the balance.”
Keith is the editor of SCREENZ, and the co-creator and founding editor of CREWED.