Among all the skills necessary for a music supervisor to master, perhaps the most difficult is how to be an ally to everyone. No two collaborators are the same. Different taste. Different agendas. Different levels of tech savviness. The list goes on. Producers, Studio Executives, Music Editors, Editors, family friends, spouses…I’ve seen all of these folks be called in to submit their opinions on song selection at one time or another. Of course, the most important person to please on the creative team is the director. The director needs to feel taken care of, confident that you are doing everything in your power to serve their vision and make their precious baby come to life exactly how they’d like (which I don’t mean in a derogatory way – I’m sure any director will agree to the film/baby analogy).
But it’s not just those making the film or television show that a music supervisor has to attend to. Even when there are zero dollars in the budget to bargain with, labels and publishers also need to feel appreciated and valued. To know that you are always fighting to get their artists paid what they are worth. It’s their job to support their artists, and to do so they need you to support them. For a music supervisor, problems arise when these two core desires (to complete the director’s vision and ability to pay artists a good/fair price) come into direct conflict.
Over the past few weeks I’ve been bugging people to vote for two panels that I proposed for the 2013 South by Southwest Film, Music and Interactive Festival (and hopefully come December I’ll get to tell you all that they were accepted). One of these panels is on a topic that I’ve been interested in for quite some time, The Future of The Soundtrack, and I am nerdily excited to get the chance to moderate a discussion between experts.
In my time working around and on soundtracks and various marketing initiatives for film and television, there are also certain observations I have made that I hope to debate, to get an official opinion. Until I (fingers crossed) find myself in a position to consult those supervisors and executives that I admire so much, here are my thoughts on the topic.
Some of you might have noticed I haven’t written anything for a while. Well, it’s not that I haven’t been writing. I’ve been starting articles left and right…I just haven’t actually finished or posted anything.
I imagine many of you are now scrolling down to see just how long this piece is. For those with no patience, and/or who have no interest in the inner workings of my brain (if you didn’t care for this post), you can skip to the end.
It boils down to a combination of two things that’s kept me away. First of all, general busy-ness and lots to do. The second reason is mental health.
By Amanda DK
Recently a handful of independent managers, artists, songwriters (and friends) have reached out to me asking the same question in slightly different ways:
How do I get my music into television and films?
I hope those people don’t find it impersonal or rude that I’m answering them with a public article. I’m writing this because I want to help…honestly, helping them is helping me. It’s just that these sort of questions come up multiple times a week and I am always giving the same answer.
By Amanda DK
At this point it’s a given that Twitter and the music industry are inextricably linked. The site has changed the way artists can interact with fans, how marketing strategies are devised and executed, and set a new, even faster pace for the spread of news and buzz. It’s been invaluable tool in growing this blog; I’ve built countless relationships with social media experts, fellow bloggers, and publicists through Twitter alone. But what about for music supervisors?