People who are starting their careers in film production often don’t realize how complex, difficult and expensive it can be to clear preexisting music for their films. It may be just a couple of seconds as the main character turns on the radio and a song is playing or that scene where the protagonist enters a party (and there’s a music playing). Music is everywhere.
A simple audio montage of different sounds can cost a small fortune and take quite some time to clear. The example below, taken from the film CONTACT (1997), shows how beautiful and relevant it can be to your film. However, one cannot imagine the cost and the time it takes to clear it all.
But how do I get it? How much do I pay for it? When should I start dealing with it? Who do I ask for what? What alternatives are there? Can I skip paying? What is a music publisher? Is “free” really free?
We wrote MUSIC LICENSING FOR FILMS: WHAT A YOUNG PRODUCER SHOULD KNOW so we can help other filmmakers out there who may be wondering (or panicking) about the music they need/want for their films. In the book we explore the basic concepts of music rights (what licenses you need from whom), explain the complex relationships between artists, composers and labels, and then we go on a long Q&A where we answer lots of complex questions taken from real life. We even analyze the music credits of some great films like THE CONJURING 2 (2016), IT FOLLOWS (2014) and many other films all the way back to AN AMERICAN WEREWOLF IN LONDON (1981). We discuss over three decades of music licensing in horror films: the strategies of music supervisors, some choices they made and how it’s all credited. You really should take a look.
This e-book is completely free. It was written by Paulo Leite, writer and producer of INNER GHOSTS, who is also a professor of film production in Lisbon’s Film School.
All you have to do is to go to the INNER GHOSTS landing page and register. You will receive the e-book is a no time.
We loved making this book and we’ll certainly write many more. 🙂