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If You Don't Know, Now You Know : Music Supervision
- 1. If You Don’t Know, Now You Know: Music Supervision PANELPICKER SUBMISSION 2020
- 2. Participants: ORGANIZER/MODERATO R Leigh Henrich Sweets & Pop Music PANALISTS Lindsay Wolfington - Lone Wolf Music Supervision Ann Kline – Casa Kline Season Kent – Full Pursuit
- 3. More and more young music industry hopefuls are tagging music supervision as their dream job, but do they really know what the role entails or does it just seem like a cool job where you “pick music to be in film & TV.” While the appeal of matching music with media is what draws many to the profession, do the realities match the expectations? In this in-depth look at the role of a music supervisor, we’ll hear from experts in the field on how the profession has developed over the years, the economics of making a living as a music supervisor and what challenges they face from booking projects to working with producers, directors and studios to sourcing music and more. DESCRIPTION:
- 4. TOPIC 1 How has music supervision developed as a profession over the years and where do you think it’s headed? Questions How did you get your start in music supervision and how has the profession changed since then? If you were a young person starting out now, do you think you would still explore music supervision as a career path? What challenges do you think new music supervisors coming into the profession face that you didn’t or what challenges did you face that are no longer relevant? It seems that the role of music supervision has become more recognized over the past few years with the Guild and the awards that are given for it now. Do you see that trend continuing? Do you think there’s more that needs to be done? Where do you see the profession going in the future? Or where would you like to see it go? Do you feel there are challenges to being a female in the profession? LINDSAY WOLFINGTON’S MUSIC SUPERVISION PROJECTS
- 5. TOPIC 2 What are some of the important things to know about making a living as a music supervisor? Questions How demanding is it on your time? Do you feel you’re able to have work-life balance? How committed do you have to be to be successful? I’ve heard a number of music supervisor assistants and coordinators say that they need a side hustle (or needed one when they first started out) to be able to pay bills. Can you tell us a bit about the economics of being a music supervisor? How does one go about building a successful career from an assistant, to working for yourself, to building a team? What’s the key to having longevity in the profession? Do you see things changing? Will there become a tipping point where the profession becomes more recognized and therefore the fees for the service increase? ANN KLINE’S MUSIC SUPERVISION PROJECTS
- 6. TOPIC 3 What do music supervisors actually do? Questions What does your typical day look like? How do you get hired onto a project? Do you work with an agent or a manager? What is the role of an assistant or coordinator? How do you find a good one? How do they help you? What’s the relationship like with the producer? Director? Studio? How do you go about sourcing music for a project from start to finish? How do you manage music that is pitched to you? How do you determine when you’ll go out in a brief to trusted sources and when you’ll hunt the music down yourself? SEASON KENT’S MUSIC SUPERVISION PROJECTS