You Ought to Be in Pictures

Jan 1, 2002 12:00 PM, By Michael A. Aczon

From its humble beginnings with pianists accompanying silent movies to the platinum-selling soundtracks for today's films and television shows, the union of sight and sound has developed into a multimillion-dollar business.

Film soundtracks frequently top the music charts, music videos promote movies and the songs in them, and popular songs pop up constantly in TV shows and commercials. Sometimes previously unknown artists gain a national audience by contributing to a movie or TV production. For example, Elliott Smith had a small cult following when his song “Miss Misery” appeared in the movie Good Will Hunting; the song garnered Smith a hit single and an Academy Award nomination. Vonda Shepard vaulted to popularity thanks to her appearances on Ally McBeal and her prominence on the show's album soundtracks.

The century-long relationship between music and moving pictures shows no sign of abating anytime soon; in fact, it is continuing to grow at a steady clip. The question is, how can you successfully take your music from the studio to the screen?

BUSINESS BACKGROUND

As a musician, songwriter, or producer, you can pursue a variety of avenues to break into this area of the entertainment industry. Whether it's pushing your catalog of independently released records or songs, writing songs for a specific project, or producing a compilation of your best background music, some basic information can go a long way toward getting you a break into the business.

First of all, the business aspect of transferring your music to the screen is pretty straightforward. Movie and TV production companies pay negotiated fees to use musical compositions and master recordings. The fees vary widely based on factors such as the type and length of use, the importance of a song to a production, and the size of budget set aside for music. Performance royalties are generated every time a song from a movie or television program is broadcast on the radio, television, or the Internet. Another major component of the music-and-visual mix is the role of the record industry. Simultaneous cross promotion, such as the music video tie-in, by record companies and motion picture distributors often results in a tremendous sales boost for soundtracks.

SUPPORTING CAST

Knowing the various players involved in getting music into a movie or TV project is key in your efforts. Whether a production is big or small, the roles of key personnel remain the same.

Music supervisor

This is the person in charge of finding the right music for a production. Sometimes that is simply a matter of finding preexisting commercial recordings of songs that fit. Other times music supervisors have to find composers to write specific musical pieces or producers to rerecord existing songs to better fit the visual. After finding the right music, the music supervisor then negotiates the various rights to use the masters and compositions with the owners of those rights.

Music publishers

Publishers are the frontline sales force that gets songs to music supervisors. Some music publishers specialize in film and television placements; others, particularly the larger publishers, have separate film and television departments. Music publishers constantly read trade magazines, meet regularly with music supervisors and movie directors, and make it their business to know what movies and television programs are in production and what stage of production they have reached. It is the publisher's job to provide the right song or composer for a production at a moment's notice.

Artist and repertoire (A&R)

The A&R personnel at record labels are also involved in looking for projects that might be good links to record sales. Labels pay a fee to the movie or television production company for the soundtrack rights to a project, knowing that sharing an audience with the movie or television show can lead to a hit record.

Music-library companies

These companies provide, to music supervisors, prerecorded music ready to use and license once the right fit is established. Music libraries typically own the masters and compositions included in their CDs, which is attractive for music supervisors because negotiating for both uses is one-stop shopping.

Online music licensing

These services are a relatively new addition to the field. A high-tech hybrid of the traditional music-publishing business and music libraries, the business model for online licensing services is being established. Some companies own all the rights to the music and masters they represent; others represent owners of compositions and masters on a nonexclusive basis. When music supervisors find songs or masters online that they want to use, the licensing service negotiates the fee for such use and then pays a prenegotiated portion of the fee to the owners of the masters and songs.

Performing-rights organizations

These organizations license and collect the fees for the songs' performance rights. The U.S. performing-rights organizations — ASCAP, BMI, and SESAC — have entire departments of specialists who negotiate licenses with the users of songs in their catalogs for television, film, and new media.

FOCUS IN

Narrowing your view of what you want to do in the film and television business will determine your approach on getting in. If you are a recording artist, your focus is probably more on exposing your records to a larger audience than on creating music specifically for a film or television program. Because labels are in the business of getting their artists heard, soundtracks are a great opportunity to establish up-and-coming artists. If you are fortunate enough to be signed to a label, talk to your A&R and promotion departments about seeking those opportunities on your behalf. If you're not signed to a label, you can work with your publisher and your performing-rights organization to seek out occasions to get your songs heard by music supervisors. When sending your demos to music publishers, be sure to emphasize that you have an interest in film and television and don't forget to point out any film or TV credits you might already have.

If you are a songwriter or a producer, you might need to learn the technical side of how to write for film and television. Consider taking courses in film composing from a local college or film school; they will help you develop your skills and your understanding of working within the film and television industries. Furthermore, those courses can generate valuable leads into the business.

Assemble a demo that shows your work in synchronization with visual images. Try to get involved with as many visual projects as possible, remembering that you may have to initially trade cash for credits. By making yourself available as a composer or a producer for independent projects, student films, or community-access television on a low-cost, spec, or deferred-fee basis, you can build your résumé and possibly get in on the ground floor of the next major director's career. As with all networking in the business, the more you make yourself available, the faster your contact list will grow.

Film and television trade magazines (such as Variety or the Hollywood Reporter) can provide leads to music supervisors, music-library companies, and projects that need songs or styles of music that you are adept at producing. Directories such as the Music Business Registry (www.musicregistry.com) can give you names of music supervisors for your list of contacts.

James Leach, SESAC's director of writer-publisher relations in the Los Angeles office, is a veteran in the film and television field. He gives this advice to composers and producers trying to break into film and television: “Most of all, be the best musician you can be. The great music people in the business can weave the texture of their work into the visual. If you have a broad sense of music — being able to cover a variety of styles and actually compose and play music instead of simply program a synthesizer — your chances are much better. Have great people skills and don't be afraid to hustle.”

FINAL CUT

Whether you want to shift your career away from recording and performing or you want to diversify your musical assets, music for film and television continues to be a growing opportunity. If you plan carefully and look at the screen from a different point of view, you can expect to hear your songs and see your name as the credits roll.

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Michael A. Aczon is the music supervisor for Alcatraz Is Not an Island, a documentary about the occupation of Alcatraz Island by Native Americans. He would like to thank music supervisor and publisher Ronda Espy for her assistance with this article.