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View from the boardwalk outside the Crowne Plaza Ventura Beach Hotel

I recently had the pleasure of attending my first ever Durango Songwriters Film & TV Expo in Ventura, CA, one of three such events every year (the others take place in Santa Ynez, CA and Denver, CO).

For two and a half days straight myself and fellow music supervisors in film, TV, advertising and trailers, were bombarded with music and musicians from all over the country.

Attention Artists and Songwriters: This is the conference you want to go to. I probably shouldn’t be spreading this around, but even the music supervisors get excited about this one. This was evident in the caliber and number of professionals in attendance. Many names I had heard and wanted to meet or get to know for years, many I didn’t know I wanted to meet; top notch credits and companies spanning from Breaking Bad to BBDO. It may have been related to the beachside location or the drink tickets, but everyone was down for a great weekend.
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3 Reasons You Can’t Use That Song (a Friendly FYI for Directors and Producers)

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.

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Pitching Music for Film & TV: Tips from a Gatekeeper (Second Edition)

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.
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Four Reasons Why Twitter Is Essential for Music Professionals (Yes, Even Music Supervisors!)

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?
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