The secret to getting your music placed in film and television?
Don’t piss off Music Supervisors.
I’m joking of course (CALM DOWN)….but we are a deeply close and very passionate community. If you burn one of us, be it a clearance issue or say, a published article, there is a good chance the word will spread, and quickly. It’s honestly one of the things I love most about being a Music Supervisor: we protect our own and we defend our craft.
In the past month or so there have been a couple articles that have incensed this vocal community.
TV and Film Music Supervisors Are Killing Real Songwriting (LA Weekly)
War Dogs, Suicide Squad and The Lost Art of The Movie Soundtrack (Flavorwire)
Why have these frustrated Music Supervisors so much? They are based upon a lack of education and incorrect assumptions about what the job of a Music Supervisor actually entails. Not that it’s surprising. The job title has been thrown around so much in the media lately it’s no wonder the general public has a skewed opinion. Very few people – even within the entertainment industry – have any idea what we really do.
I don’t have any incisive responses that haven’t already been covered (with style and sass) by my colleagues. Michael Perlmutter’s response on the Instinct Entertainment website is a must-read. Instead, I wanted to take the opportunity to address several of these major misconceptions about the craft of Music Supervision – some that are perpetuated in these articles, and some that I’ve found working in the field or heard regularly lamented by peers.