The Real Job of the Music Supervisor
May 27, 2009
I’m constantly reminded that many filmmakers (and the general public) have a misunderstanding of what the role of a music supervisor is. Many think that a music supervisor sits back and listens to CDs all day making musical selections for the films and TV shows they work on.
Some of the music supervisors on popular TV series such as Alexandra Patsavas (Chuck, Gossip girl, Grey’s Anatomy), PJ Bloom (Nip/Tuck, Glee, CSI Miami), Lindsay Wolfington (Ghost Whisperer, One Tree Hill, Smallville) and Madonna Wade-Reed (Castle, Smallville, One Tree Hill, Las Vegas) spend more time listening to music. Keep in mind though; they have a staff of one or more interns or assistants that help weed through a lot of the music they receive. They also help catalog the music in their libraries giving the music sups more time to deal with paperwork. Since they are ultimately responsible for the proper clearance of the songs the use, they have to put the administrative side first.
In an exclusive interview with Buddytv.com Alexandra Patsavas said, “When people wonder about music supervision, it’s not just about the creative choice, it’s also about responsible budgeting, clearance, you know, budgeting your time. It’s definitely, like, it’s not only a creative task, but a very business-oriented task as far as pulling the rest of it together. The business of music supervision is essential to its success.” Full Interview
I’ve heard so people say that they want to be a music supervisor because it would be a dream job to listen to music all day. These folks or wannabe music supervisors will have a rude awakening if they ever get the chance to work on a film or TV show. The filmmaker’s that feel they can do the job as a music supervisor are really doing themselves a disservice by not hiring someone with the skills, knowledge and experience to do the job right.
I’ve worked on close to 30 films. I’ve had the luxury to find the music on only seven films. On the other 23 films, the director had already picked all of the songs before I came on board. My role on these film were to clear the rights to the songs to include a ton of calls and e-mails to publishers, record labels, artist management, and songwriter and musicians, draft license agreements and/or reviewing those that are issued, negotiating licensing fees, reading scripts, creating cue sheets and any other administrative duties required. On several films it was my job to create the music budget.
Jacqueline Marmo, of Imprint Magazine, interview One Tree Hill music supervisor, Lindsay Wolfington. Lindsay talked about music in TV shows and what’s involved on the creative side. She went on to say, “It’s not only matching the song to a scene, it’s going to the labels and publishers and getting permission to use the song and keeping the episode at or under budget. It’s also knowing good unsigned artists who are easily clearable at an inexpensive price,” she said. “A typical day for me includes clearing songs for one episode, listening to cheaper alternatives to replace an expensive song in another episode, and reading a script and sending music for a third episode!” Full Interview
Building relationships is an important part of the music supervisor’s job. If you can’t talk intelligently about music clearance and licensing with publishers and record labels you’re not going to get the job done. After working with major and independent publishers and labels over the last five years, I have build great working relationships that have been very instrumental in negotiating licensing deals.
If you can’t do the administrative side of music supervision, don’t call yourself a music supervisor. To more accurately paint a picture of the workload, the creative side takes about 30% of the time and the administrative side takes about 70%.
I do get my share of CDs. I wish I had the time listen to them as they arrive. I have several CDs that have been sitting on the shelf for a few months. I’ll get to them, but not any time soon. The CDs that I listen to right away are the one’s that I request of if I heard the band play and really like their music.
The job of a music supervisor can be a dream job if you can handle all aspects of it. If can’t, it can be a nightmare job.
Well said! Lots of truth in here…that “sit around and listen to music all day” misconception is everywhere!!
Ive dealt with music supervisors for a number of years now, and I have nothing but empathy for them. Even in the days when i was getting started in the world of tv and film score stuff, beds, background cues et al, and i would sometimes have to wait AGES for payment, not ONE OF THEM was ever discourteous or impolite. Its not the easiest of jobs for them - theres a few ive bonded with over the years- and they have to go through a phenomenal amount of fire and hoops sometimes, and it can seem like a thankless task too. I have respect for them simply cause theyre trying to make A LOT OF PEOPLE happy at the same time, as well as actually get on with the job at hand, and that must be a real fryer to the nervous system for the faint of heart. Well done to you Dominique, for staying the course and keeping it flowing.
warmest regards
Steve Dhain (musician, producer, director of Juicy Audio Productions)
I am a music publisher and my experience with music supervisors is surely positive. Indeed they have to make everybody happy as Steve Dhain said and of course they have to use their taste in finding the right music for the best price.
Nowadays the life of a music supervisor should be easier since music has become more difficult to sell and to promote, so any record label or publisher would do his best to come to an agreement for a synch deal.
I am a music producer that took a somewhat vaca from the music business. It’s a long story but the short and sweet of it is, I want to get back into. I did records with Vada Nobles (miss education of Lauryn Hill) LL Cool J, Sisqo of Dru just to name a few. I do have a track record.
My question is this; I want to get into doing music for film and submitting the many, many songs I have for placement in those films. Eventually I want to end up scoring, but I know I have to start somewhere. Where do you suggest I start? What do you suggest I do?
I appreciate any advice you may want to throw my way.
Marc
How have websites dedicated to pre-cleared music changed the game for the music supervisor (if it indeed has?)
Services like pump audio, rumble fish and stockmusic.net have tons and tons of music, much of it sounds to my non-professional ears as good enough for a background for a scene.
What services do you use? Why would you use one or why not?
Thanks for your insight! - I don’t work for any of those services BTW. As a consultant to bands I want to know if it’s worth sending music to any of them.
Best,
Jason
A music supervisor sounds like an ideal job for me! Ive always thought about it. I knew it was much more than just sitting around and listening to music. And I knew the hardest part was trying to get the music needed/ wanted for the film or TV show.
I’m at the age where I have to figure out what I’m going to be going to school for. And a music supervisor is at the top of my list. It just seem like something that could never be reached, but still something I would still want to go for. I was just wondering, how would you go about pursuing a job as a music supervisor? Is there cretin schooling involved? I know after school I would probably have to get an internship with an actual music supervisor and then move on from there.
I really want to take the steps to become a music supervisor, but that involves know what those steps are (which I do not…).
So if you have the time (and I really hope you do), could you shoot me a quick e-mail? I would really appreciate it!
This blog was very helpful and informative! Thank you very much!
Carley
Iam looking for a job as a music supervisor, it would be the perfect job for me Iam a musician I play with a few groups one is a hip hop group and one is a Rock group, I listen to every type of music and I love working with music, if you are interested please email me Christmichalak@gmail.com , thanks
when’s the next post?
So many titles in films are held so loosely to the mass audience. How many people really know what a Producer does, or what a Sound Editor is. I didn’t really have a real clue what these titles meant and what the job entailed until I had them explained to me in my film classes. One of my teachers was Pat Jackson, a sound guru for film. She had us making “sound spotting” sheets and had us in the recording studio doing ADR, and that is the real way someone learns what these types of jobs really mean. Many people think that working on films is an easy glamorous job, but you’re right. Their is a lot of tedious administrative stuff that needs to get done.
-melanie@makingof.com
Thanks for the clarification on the role of Music Supervises.
I always picture tons of paperwork and details from what I know about what is involved with clearing licenses.
Dan-O @ danosongs.com
Are there any internships out there for people, like myself, interested in music supervision?
Like many, I want to pursue a career in music supervision. Im aware I should get involved with an internship, but is there anything besides that, that should or needs to be done? Any particular classes or degrees? I could use all the advice in the world and would greatly appreciate it! I’m very good with instruction and lists, so if anyone has any insight on what to do for my first step, please email me at samsam3891@aim.com Thank you so much!
-Samantha Putterman