I’ve been on sort of a sabbatical for a while, so hope that Karen “Kay” Ross’s previous request to cross post this is still a needed/wanted bit of advice about music in your projects.
Important Note: The #1 reason your film won’t be picked up (for sale or distribution) is lack of music receivables (ALL, including song licenses, composer, music supervisor, & music editor agreements, etc.).
Music supervisors can make sure that you have the licenses you need before you even hit the Film Festivals to shop your project.
I've been working in music supervision, coordination, and administration for quite a few years, first at a music supervision house, now as an indie. I'm also a musician/artist and author, so have a unique perspective on the needs and wants from both sides of the table.
In addition, I consult with filmmakers, artists, and all the folks on the business side of the biz, and how that impacts both the music composers, publishers, and artists. I can also get the creatives and bean counters to talk to one another, since I speak both "artist" and "suit".
1 person likes this
Hi Gael MacGregor - you are spot on that proper music chain of title and licensing can be such a detriment to getting your films out to the world. It's imperative and you always want to get it right at the beginning so you don't have to chase that after the fact. Thanks for sharing!
1 person likes this
Gael MacGregor would you be interested in writing a Stage 32 blog to get a bit more in-depth about this? I think it could be really helpful and informative! If so, please email me at blog@stage32.com!