Save Time, Money & Stress:Hire a Music Supervisor

ModeratorAmanda Krieg Thomas

● Amanda Krieg Thomas (Music Supervisor, Neophonic)

● Rob Lowry (Music Supervisor, Sweater Weather Music)

● Garret Price (Editor, About Alex, Janis: Little Girl Blue)

● Heather McIntosh (Composer, Z for Zacariah, Manson Family Vacation, Rainbow Time)

Speakers

- Music is inexpensive- Clearance is a simple and fast process- The only way to get affordable music is by seeking out “unsigned” bands- Artists are desperate to get their music into films just for “exposure”- Anyone with good taste can be a Music Supervisor- If a Director has good taste, a Music Supervisor is a waste of a line item- Composers and Music Supervisors are only a part of Post Production

Common Misconceptions About Music in Film:

If music is a priority for your film, it is important to budget for it early to avoid scrambling at the end of post production. Start with 2% - 4% of the total film budget and proceed from there:

- Is music integral to your creative vision for the film? - Are you attached to any songs already?- Are you attached to any well known songs or artists?- Are there many song spots in the film (don’t forget about bars, waiting rooms, restaurants, or

clubs, where there would be music in the background)?

If the answer is “YES” to any of the above, it’s wise to skew higher - at least 5% of the total film budget.

How much should I budget for music?

Sometimes one can only crowdfund so much. When a little money needs to yield great music, there are still several avenues to pursue that don’t involve the risky business of “royalty free” songs:

- See what music your friends in bands might be willing to offer (they will give you the best deals)

- Hire the best music supervisor possible with the budget to ensure that your friends’ songs are

legally eligible to be used in the film and correctly clear them (and much more).

- Hire a composer with a diverse skill set that may also include songwriting and/or sound design

- Set up a blanket license with a music company or catalog (label, publisher, third-party pitching

company or music library)

But what if I just don’t have that much money?

Many filmmakers forego the expense of hiring a music supervisor and opt to do the paperwork themselves. In reality however, a music supervisor can save a production valuable time and money for three primary reasons:

Relationships with labels, publishers, third party pitching companies and artists. These relationships provide:

- Access to music from good quality and/or cost-saving sources a filmmaker might otherwise have not known about (e.g. production music libraries).

- Better rates than a producer reaching out to a label without any contacts, and the ability to negotiate.

Knowledge of the highly legal clearance and paperwork process, including quote requests, license requests, confirmations, and licenses. Not only do they have paperwork on hand for all, a good music supervisor will be able to customize forms for a production’s needs, saving money in potentially unnecessary rights.

Creation of a cohesive musical voice across the score and licensed music that supports and enhances the narrative.

Benefits to Hiring a Music Supervisor

- Diverse relationships across the music industry with everyone from labels and publishers, to managers, artists, studios, third-

party pitching companies and music libraries

- Strong strategic thinking and negotiation skills

- Familiarity with the song clearance and licensing process and ability to execute with an eye for detail

- Ability to guide the musical shape of the film via both the score and licensed music

- Skilled in navigating team politics; working closely with the Director, Producer, Composer and Editor to ensure the music is a

fit creatively, legally, technically and financially.

“When I work with a supervisor I want someone who pushes me creatively, but at the same time keeps me grounded in reality. As an editor, music is a very dangerous tool at my disposal. The worst thing possible for an editor is to use a sync or piece of score that cheats you through a scene, especially in the early stages of a cut. Music should complement what’s happening on screen, not force the edit to do something that it would not do otherwise. During my early stages I usually temp in stuff from my own library or based off of preliminary conversations with the director. However, if a music supervisor is on board from the beginning, so much wasted time and heartache can be avoided. Nothing worse than getting your director and producers to fall in love with a sync that is unobtainable.” - Garret Price, Editor

What Makes a Good Music Supervisor?

Filmmakers on a budget can often be tempted to use existing music throughout a film...or ask their indie musician friend to do a favor. Spending the money to hire a good composer, however, can both creatively elevate the project and ultimately help the bottom line:

1. Music customized to the desired mood and emotional tone of the film.2. Provide a consistent musical foundation3. Ability to fill song spots with score or songs (custom or existing) thus saving the production money4. Utilizing a unique skill or experience in creating a singular and elevated voice for the film

“There are a lot of super subtle moves a composer can do to create tension or build the world of your film. I love those moments where the composer gets to dance in that world between sound design and room tone. A composer can do so much more than fill a movie with wall to wall sound. We can also make a room feel claustrophobic or add cohesion or move a scene along.” - Heather McIntosh, Composer

Benefits to Hiring a Composer

Thinking creatively about music is not as hard as it may seem - start by using language you are comfortable with in other creative arenas.

“I have met a lot of filmmakers who will say oh, I'm not that good at speaking about music, but there are so many ways to start that conversation. In the same way that you might develop a lookbook or director's statement, be thinking about this with regards to your musical intent. What are your favorite films? What is the music doing in them? What are films that influenced you in the making of this film? What do you like to listen to? What were you listening to while you were writing/ developing your film? Some of these questions are more broad strokes, but they are helpful in talking about the more ethereal nature of what music can do.” - Heather McIntosh, Composer.

Hire your music positions early!

“Hire as early as possible. A Music Supervisor can look at the scope of what you will need - what may be score, what may be source, a rough estimate of cues - help develop the budget and allocate appropriate funds for licensing, a supervisor, a composer. They can assess the vision and expectations and offer a solutions for what is realistic and manageable.” - Rob Lowry, Music Supervisor

“Way too often it’s an afterthought in the pre-production process on both the creative level and producing level. Being an editor and the main liaison between the music supervisor, the director and the producers I’ve seen some pretty heated situations that could have easily been avoided if this was part of the discussion in the early stages of the movie. In the end, sound is just as important as the visuals in your film. Why would you risk making something that only is half your vision?” - Garret Price, Editor

Advice for Filmmakers: Plan Ahead!

Professionals at the intersection of film and music offer strategies for assembling and utilizing the ideal team to secure the best music

for your film efficiently, affordably and correctly.

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