Today, Monday, October 24, 2011 marked the opening of the tenth annual Film & TV Music Conference at the Hollywood Renaissance Hotel with some of the music industry’s top talent making appearances and addressing a packed room of attentive people many of whom are aspiring musicians. There were several theme based panels today presenting valuable information regarding everything from production, management, composing for film and television, real time critiques of submitted musical work from industry experts and a panel of musicians and songwriters discussing how to make the shift from being in a band to producing music for film and TV.
“The Indi Connection: Linking Composers and Directors” is a panel that focused on some of the issues that are faced by Indi filmmakers and we were given some interesting insight into the kinds of things that people who score films may face. For example, a producer may say to the person scoring the film, “your work is great…I love your music but we really need something that sounds a little more ironic with a little melancholy in the end.” So it isn’t enough to produce movie music that is exciting during the action sequences and romantic during those scenes. Imagine being a composer having to satisfy the whim of a producer who wants a score to sound “more ironic.” Somehow the members of the panel were able to offer practical advice on how to deal with this situation.
The panel that was of particular interest to aspiring musicians and composers called, “Real Time Critique: Music Supervisors React to Your Work” offered some very useful advice to artists. Moderated by John Anderson, Director, Film & TV Media Ole & CEO of Hunnypot Unlimited, the panel consisted of music supervisors from a variety of major film and television music production companies. One of the insights we gained as a members of the audience is that a music supervisor can receive for review anywhere from 250 to 1000 submissions a week. One panel member, Anna Granucci, Music Supervisor, Scene Tracks Music said the number of submissions were; “endless basically…from all over the world. Today’s music supervisors are essentially the hubs for a lot of music managers. We get a lot of material before anyone—it’s insane sometimes—a lot of material from all over the globe.” With the enormous volume of music they are charged with reviewing, it is very important for the musician or the artist to understand that they may have only one shot at having their work heard by someone who has the resources and expertise to license and distribute their music for film and TV. One of the things that was repeated more than once is that if you’re submitting something whether it be on a CD, USB memory, or an online link to your samples it is crucial to have your contact information, writer & publisher information, metadata, and anything that would provide the easy path to licensing. They also stressed the importance of having your digital data such as track information in place. In terms of artwork, it’s important to have something that catches they eye. The whole point is that you want to make your submission as user-friendly as possible. One of the panel members mentioned that if you’re going to use an online service it is crucial that you make sure that you keep the links active because sometimes they get submissions and the web link is expired.
Several tracks were played and critiqued by the panel. Their feedback varied widely from “I want to see you after the panel” to “the production values on that were really lacking.” Several members of the panel are responsible for presenting potential tracks to producers for use in film and television. Some producers don’t really care how popular the musical artists may be—their focus is on how the music works in their film or TV show.
There is certainly something for any person who has a stake in music for film and television. There is still one more day of the conference. For more information, click here.