 How to Approach a Music Supervisor:
Transitioning from Freelance Artist to Hired Gun!
by Leslie Waller, L*A*M*P CEO
At a recent seminar this month, a guest was telling me about how difficult it is to get people to listen to his music. It's difficult to get heard; it's difficult
getting through; it's difficult getting a response even if you get someone to agree to listen. Well, listen up, folks…I'm going to let you in on a little secret. It's the first immutable law of marketing:
1. Find out what the market needs.
2. Give it to them. That seems pretty simple, right? However, it's just not the way a typical artist operates.
Let's look at the two sides of the equation: You're an artist; you create your music; you put it on a CD; you want people to listen. This approach is fine until you start trying to place your
music for specific projects in TV, commercials and film. You may think you have a song that would be "perfect" for "X" film or TV show. You may think you have a song that fits a character in
a show perfectly. You may think you have written an instrumental track that would make a killer theme song. Enter the music supervisor.
Music supervisors are busy people. They select music for film and television projects. They know dozens of great artists. They have piles of music libraries. Some even create them. They
help get contracts and licensing pushed through for the film; they negotiate the best deal for the project; and they find music as quickly and efficiently as possible to help realize the director's
vision. (Yes, music supervisors report to a boss. They have been selected because the boss has respect for their taste and their ability to pull things together fast and under budget. The
director and others still have to approve everything they submit.) Why would a music supervisor want to listen to your killer theme song?
The answer is that they probably DON'T want to listen to your song. Why? Let's go through an imaginary week with "Joe Placement," our favorite harried music supervisor. You have your killer
theme song for Show X, so you call Joe to tell him about it. You tell him how great it is. He said "thanks, but no thanks." Joe has a theme song now that's just fine. He picked it out himself and
it fits perfectly. But now it's Friday, and the contract falls through and Joe is in desperate need of a theme song. Do you call Joe again to remind him about your "perfect" song? Not really. Why?
Because Joe doesn't need just any theme song. It has to have a maniacal flute and digeridoo, and it has to be 1:39 in length, and it has to be fully cleared and licensed. Does that describe
your song? If you happen to have such a song – Joe wants to talk to you NOW. If you don't have such a song, but can create one fast, Joe will be your best friend.
The point is, your theme song is probably not what Joe is looking for right now. You simply don't know what Joe needs. How do you find out? Ask!
When you as an artist are trying to get your music placed in TV, film, or commercials – even sound libraries – you're trying to see if your music fits their current needs. You're no longer a
freelance artist; you're a contractor. You're not writing music for you; you're writing music for someone else. You're working on a PROJECT basis. You're also working on a
DEADLINE-DRIVEN basis. Joe doesn't care what you have in your catalog. He only knows that he needs a maniacal flute theme at 4:00 on Friday. Do you have it? Can you create it? Are you
getting the picture (no pun!)? So when you approach a music supervisor… 1. Don't be dumb. Get smart! Know thy supervisor, if possible. Know the projects in advance.
Know what kind of music fits their shows. You can find this out from the receptionist or assistant, or look them up on the Internet. Watch their current and past shows and check out
the credits. Watch films they've produced. With this knowledge base, you will see what kind of choices they make. You will be able to speak intelligently about their past work if needed. They
will appreciate this. You will be calling them because your music may fit their taste and their current projects. It won't be a shot in the dark. It's called prequalifying the customer.
2. Don't ramble. Be brief! Respect their time by keeping the call under five minutes. The goal is to see if you can fill their current need(s). If you can't, don't waste their time.
3. Don't tell. Ask! Don't assume that you know what he wants. That's just presumptuous and kind of rude. And don't expect him to just rattle off his whole list of projects for you. What if
three artists a day asked him to do that? Ask instead: "What's the most challenging thing you have to find this week? Is there a way I can help you?" If he articulates a need, ask specific
questions – instrumental or vocal? Male or female? What genre? Comparable to what artist(s)? What's the scene? What's the mood? Length of track? Format of submission? When do you
need it? Where do I send it? (Get right to the point!) 4. Don't push. Pull! What do I mean by that? Don't push your music on a music supervisor. He
doesn't care. He has an avalanche of artists competing for his attention. He wants to know if you have Persian Bossa Nova music right now. If not, can you create it? If not, do you know
someone who has it or who can create it? Draw him out, ask him questions about his current needs, and see if you can help solve a problem for him. FAST.
5. Don't lie. Be honest! Don't make promises you can't keep. If you can't create Spanish polka music for him in the next ten minutes, tell him you can't help him right now, but would it be
okay to call him in a month to check in? He won't mind because it's only another five-minute phone call. And you were honest and courteous.
6. Don't brag. Be real! Don't go on and on about how great your music is. He's got a pile of amazing music three feet away that's cleared and ready to license. Don't think that he just fell
off the turnip truck. He knows what good music is. Joe expects a high quality, ready-to-license product that fits his current need. No time for "close enough." No time to re-record something to
make it fit. He needs it NOW. So don't betray his trust by sending him something that's not your best work. It's gotta be ready for the big screen. Period. Test it against other commercial
CDs artists similar to your genre. 7. Don't be vague. Be specific! If he asks about your music, know what your music sounds like
and how to describe it in 10 words or less. What is your forte? No music supervisor wants to hear that you do "a little of everything." That just puts you in a vague pile of vague artists that
maybe he'll get to some day if he ever has spare time. (He won't.) Use terms that they recognize, like "I sound like a cross between Sarah McLaughlin and Donny Osmond, and it's
perfect for game shows." Or "the track I'm sending you will enhance the tension in any urban car chase, and the tuba makes it even more ominous!" Humor is a great icebreaker when used
sparingly. Remember that he only wants African accordion music right now. Do you have it? 8. Don't prepare for failure. Prepare for success!
Ø
Submission guidelines: Only send tracks that are cleared and ready to license. Copyright the song and register it with ASCAP, BMI or SESAC before you submit the track! If you have
multiple writers, clear it with everyone before you submit the track! Ø Legal guidelines: Don't get stumped by a contract. Review standard licensing contracts (available from www.filmmusicworld.com)
. You should not be seeing a contract for the first time when a music supervisor gives you a green light. You'll usually only have a short time frame to
make a decision. You cannot let the licensing process grind to a halt because you weren't prepared. You should have a standard contract, or you should have a lawyer on call to go over
the contract with you within a few hours (or less!). If you make it difficult for Joe Placement, he will probably go with someone else. It also looks unprofessional and does not bode well for
future licensing. Get all legal issues out of the way well in advance. Ø Financial guidelines: Know what your track is worth. What did comparable indie artists
get paid for the same type of placement on the same show/film? If the music supervisor wants to license your music, know a reasonable rate and sign the deal ASAP! Be professional.
Standard licensing rates are also available at www.filmmusicworld.com. If it seems too low, I would generally go for it to get a foot in the door. Be easy to work with. If it seems too high,
shut up and sign the contract! Don't forget to get a cue sheet from them. It will probably be inaccurate. Therefore, you need to see it and correct it. And you can always submit your own
cue sheet to your performing rights organization (ASCAP, BMI, or SESAC). Be accurate, and make sure all documentation matches for the best chance of royalty payments. Ø Packaging guidelines: If Joe Placement allows you to send him something, ask him
specifically what he would like to hear. And send only that. Remember, he's already overwhelmed with avalanches of artists. He doesn't have time to carefully listen to all your
music and decide where he can place it for you. He's not your publisher. His job is to fulfill his current projects. Narrow the focus for him. Mark the package with a note that says "track one is
the cytoplasmic trip-hop you requested for the upcoming Terminator movie love theme." (In other words, say what it is and what it's for. Be specific.) He is much more likely to listen to tracks
that were selected personally for him according to his needs. Please put your contact info on everything, especially the CD itself! That means home number, cell number, email address,
website, and anything else you can think of. Describe mood and length of each track. Bios and photos aren't necessary…that's for the A&R reps. Music supervisors don't care what you look
like. Most don't even care what you've done in the past. That's for those with plenty of leisure reading time. (They don't have any.) Joe Placement only wants to know if the music fits his current need(s).
So now you're ready to enter the wide world of music licensing for fun and profit. So where do you start? How do you find music supervisors? Look at the credits of any TV show or film
(preferably those where your music would fit best). Check out the Internet Movie Database at
www.imdb.com. Buy a directory of music supervisors from www.musicregistry.com. It's updated
every eight weeks! Think like an actor…keep an eye on the Hollywood Reporter and Variety and Backstage West…see what shows and pilots and films are coming up. If they're auditioning
actors, they're more than likely going to need music as well. Get involved as early as possible on the music selection process. Get listings of upcoming projects from Taxi (www.taxi.com) or
Film Music Jobwire (www.filmmusicworld.com). Meet indie filmmakers in local colleges and meet directors at indie film festivals. Your success is gauged on whether you have (or can
create) what they need in a timely manner. Be smart, courteous, and keep your ears open. Be easy to work with. Be positive and professional. Most of all, believe in your music and don't give up!
Hope this helps bring you a step closer to hearing your music on the big screen! Happy licensing! ******************************* Leslie Waller has composed original music for film, theatre, commercials and multimedia. Specialties include world
music, romantic, ethereal, ambient, techno, trip-hop, and humor. Credits include over 50 radio commercials, numerous
tracks for popular sound libraries, industrial CDs, and film scores. She is currently the CEO of Los Angeles Music
Productions (L*A*M*P), providing educational events for indie artists to help them succeed in their careers. Find out about upcoming events at www.lamusicproductions.com, or call 800-783-LAMP. |
