The Filmmakers Guide to Music Supervision:
Top 10 Reasons To Hire Your Supervisor Early
by: Mason Cooper
The following article kicks off a series written to highlight the role of music supervisors, how filmmakers can utilize them to best facilitate a project’s creative vision and help to manage a budget. These articles will highlight specific areas in which the supervisor is involved, and the general benefits the right supervisor gives to the entire production effort and when the supervisor should be brought on board.
In every production, we hear from directors and producers, that music is really, really important to them and the film. But what do they do? They wait until very late in the process to bring in their music professional, whose experience and training is to help them fulfill their musical goals at a reasonable cost; and to secure the rights that distributors will require. Music Supervisors, Music Clearance specialists, Music Editors, and Composers are often brought in late in the process and are then expected to help create or facilitate the musical elements as if they were organic to the root of the project.
All too often, a music supervisor is hired during the middle of a film’s post production process. We can deal with the music later is the all too familiar sentiment. There are more pressing items to focus on, such as script rewrites, casting, location scouting, and scheduling. However, from the creative process to the budgetary and legal elements, a production is best served by the supervisor’s early involvement in the project. Get ahead of the game. It will save you later!
So, while music supervisors usually have to play the “Wait and Hurry Up” (aka: we don’t need you til later, and then can you get it done immediately) game – here are Top 10 Reasons To Hire Your Supervisor Early.
1. Creative Conceptualization
In reading drafts of Scripts, music supervisors can often glean a creative vision from the writer and director as the pre-production process gets underway, allowing their creative minds to start working on the film’s behalf.
2. Budget Assessment
Through discussions with the director regarding creative vision (songs versus score, song styles, etc.) and with the producers regarding true distribution plans (theatrical, cable/DVD expectations, soundtrack deals for marketing partnerships or commercial potential, licensing vs production thoughts, etc.) – the supervisor can provide valuable budgetary feedback. This way, the music budget might actually resemble reality.
3. Creative Insight
If there is a variable setting for a scene (i.e. diner, bar), a supervisor can offer stylistic suggestions that can help the director finalize an approach and authenticity (i.e. country bar or jazz bar – different lighting, different wardrobe).
4. Early Research
Getting to know the director/producer’s wish list of music early on gives more time for rights research and potential licensing leverage.
5. Team Expansion
Being part of the team early in the production process, the supervisor may better suggest potential music editors, composers, songwriters, etc. that fit the personality and various parameters of the project.
6. Fee Flexibility
While many producers feel they are “saving money” by waiting to hire post and music personnel later, they are actually losing money. Filmmakers can often negotiate a better fee with the supervisor with the thought that you are making their job easier by having them involved earlier and not waiting until the last minute. Fees are very project dependent, but this approach gives the production some time and leverage to make the best deal; not to mention the fact that they get more value from the supervisor due to having their services for a longer period of time!
7. Post Production Savings
By hiring a supervisor early, the production can save days in the editing room (read: $$ paid to editors, post houses, etc.). This is accomplished a number of ways. For example, your “temp” track may actually have songs the director wants and the producer can get the rights to within their budget (instead of the normal “temp” track which is usually 100% replaced, a waste of time, energy and dollars).
8. Replacement Time
If the supervisor can get an early jump on securing rights to the director’s music wish list, he/she can also get a start on compiling options and choices ahead of the normal last minute replacement rush (again, savings in post production time and more time for creative input from all concerned).
9. Relationship Building
Treat the music supervisor like part of your team. After all, you are relying on their taste, network, expertise and hard work – better to have them look at your production as their production, instead of just a part-time last minute outsourced unit. Over time, the communication shorthand will make everyone happier and the whole process better. If the collaboration works, many filmmakers hire their supervisors back for their next movie.
10. On Camera
Never ever commit songs or music to film without first securing your rights in writing! Your music supervisor knows how to clear the necessary rights, and it will save you heartache, headaches and lots of money if you can do this in pre-production (and you can’t do that if your supervisor is not on board yet!).
A Bonus Reason: Humor - hey maybe we’re just out of work comedians, but as music people, we do find the enjoyment in entertainment -- wouldn’t it be fun to have us around more?
I’m trying to shed some comic relief to what is actually not a funny problem most independent productions create for themselves. A recommendation from every music supervisor I’ve ever heard of on this subject is to GET US STARTED EARLY!!!
Okay – there’s more to the supervisor’s job that will be outlined in the next article in the series, but I hope you get the idea. Hire your music supervisor early, yes, even as you are just putting your development budget together. You get a better creative team member to help you fulfill your creative vision, who will help you with the budgeting realities you may face, and then will be there to facilitate the music elements throughout!
See you next article – we’ll talk about what you actually can expect from your supervisor, and also get some insight into the various types and strengths of supervisors that would be the best fit for your various productions.
Mason Cooper is an industry veteran of over 25 years: As a music publisher, he has represented the companies and catalogues and talent of Bernie Taupin, John Lennon, Eddie Rabbitt, Stevie Wonder, Slaughter, Jim Croce, Rick Wakeman, Montgomery/Gentry and many others. He has written and produced numerous pieces for television and film, including the network television themes to Major Dad, Glory Days and Sister Kate. Working as a music supervisor and clearance specialist, Cooper has brought his publishing experience and legal/business affairs training to a myriad of projects, including the new Showtime documentary “Annie: Life After Tomorrow,” the upcoming Lou Gossett Jr./Michael Madsen release “All In,” “CMT’s Greatest Moments: Shania Twain” (and 8 other CMT television specials), and the upcoming feature film “Deal” (starring Burt Reynolds and Jennifer Tilley).” Cooper started Songrunner Entertainment to specialize in the coordination of all music elements for independent producers and directors – including music supervision services, clearance coordination and publishing rights administration. Cooper can be reached at www.Songrunner.com.
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