NARIP’s first program in Paris this week brought out almost 200 French music industry professionals to discuss synchronization of French music in Hollywood films, television and trailers.
We’re told this is the first event of it’s kind in Paris, and given the response, it won’t be the last! Guest speakers including music supervisor Andrea von Foerster (The O.C., Grey’s Anatomy, Chronicle, Stargate Universe) and Big Picture Entertainment’s Marcy Bulkeley (Looper, Inception, Harry Potter, Sponge Bob, Seven Pyschopaths, Hangover 2). The program was moderated by NARIP President Tess Taylor and co-moderated by Believe Digital France’s Managing Director Romain Vivien.
Some standout points:
What’s the future of film and TV licensing? According to Andrea von Foerster, more independent music. von Foerster was thrilled to be in France to finally meet the makers and producers of music she has had difficulty tracking down.
Both speakers shared tips for more and better licensing: be flexible, be fast, have complete and accurate metadata. Many supervisors prefer receiving links to downloads (rather than CDs). von Foerster likes to receive *everything* at once including instrumentals, clean versions and remixes.
How to stay on the radar of busy music supervisors without over-stepping and becoming annoying? von Foerster says pitching is like sending a letter to Santa – you probably won’t hear back, but you might… with the good news of a synch.
Most important tip: pitch less and pitch better. More focused pitches which deliver exactly what’s requested are ideal. People pitching music should avoid the impulse to send music that isn’t exactly what’s requested unless otherwise specified. One common error people make is that they pitch their priorities rather than what the music supervisor requested.
Rights issues are the most important hurdle to clear for those licensing music, especially for independents new to the game. “I don’t have time for surprises,” says von Foerster. Be sure to indicate if the music being pitched contains any samples, if it’s a cover, and make sure all paperwork is in order. An un-cleared sample can cost jobs and money, for example.
Where’s the money?
According to Marcy Bulkeley, “trailers are the most lucrative [area of synchronization] because studios are willing to spend the money on marketing to get people to see their films.” And she should know. Bulkeley says that approximately $1M USD in licensing fees was spent for 2.5 minutes of music for the Hangover 2 trailer which features Jay-Z, The Beastie Boys, Kanye West, Band of Skulls) and others.
Bulkeley has worked on a number of trailers for Hollywood’s biggest blockbusters, including Inception, Looper, The Hangover 2, Seven Psychopaths, the Harry Potter franchise, Sponge Bob and many others (see links below).
“Synch is a fantastic way of exposing music in a new and different way, and to connect an artist to a larger audience,” says Believe Digital France’s Roman Vivien, who co-moderated the program. “It is even more the case for developing acts who often suffer from a lack of radio or video play.”
“It’s gratifying when our global organization can facilitate great music for the public and financial rewards for the creators and marketers of music, no matter where in the world they may be,“ says Tess Taylor, President, National Association of Record Industry Professionals and creator of NARIP’s Music Supervisor Sessions. We’re delighted that NARIP has helped make the distance between Hollywood and Paris that much shorter.”
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Links and Sources For More Info:
Big Picture Entertainment
The Hangover 2 Trailer
IMAX Hubble 3d