Charlotte Von Kotze - Music Supervisor

Quick Presentation SUMMARY

+ 10 years in the Music Industry (Music Supervision, Experiential Promoter, Endorsement) + 4 years of Music Supervision with multi formats

Role

• Currently Director of Music for our branded content and clients at VICE since 2014 with the support of two people; able to free up some time for side projects

• My Creative and licensing expertise mixed with my wide music network allow me to provide the best music solutions with a fast turnaround and based on flexible budgets

• Built strong interactions with the production landscapes: client, account, legal, talent, creative, producer, editor teams

• Passionate and reputed for my proactive and relevant talent & music suggestions resulting from a worldwide and cross- genre music industry network (artists, composers, managers, labels, publishers) and fresh talents from the USA, Europe, South America, Africa

• Very detail-oriented and rigorous regarding clearances and legal vetting; proactively find solutions and replacements. Music Supervision Formats & Contents

• Range of mediums: Highly versatile and experienced with digital, broadcast, virtual reality and formats: commercials, branded content, trailers, films, documentaries, music videos

• One feature documentary: “The Most Unknown” (2018) directed by Ian Cheney and distributed on Motherboard and “Moving Stories” (2018) directed by Robert Fruchman with a premiere during Doc Fortnight at Moma (2018).

• Two Short Movies: “Hail Mary Country” (2017) with AFI and “Before the Bomb” (2015)

• 2 shows on VICELAND (VICE’s TV Channel): Earthworks (2017, with Miguel, Animal Collective, Local Natives about music and travel in Mexico, Brazil) + Beerland Domestic TV shows (two seasons of 6 episodes each in 2016 and 2017, third season coming up)

• +~100 branded content documentaries featuring an eclectic music network for client such as Nike, Delta, Marc Jacobs, Belvedere, Calvin Klein, Smirnoff, Airbnb, Samsung, and more (examples here ) Two Women In Sync Awards

• 2016: Best Music In App, VR / AR, and Mobile Media for VICELAND x Samsung VR Trailer

• 2016 - Merit Award from The One Show and Women In Sync Award for “Best Original Music in a Trailer” for a Fido campaign featuring the original track “Save Me” by Katy B and Keys and Krates

• Spoke at international music conferences and leveraged opportunities: Keynote and two radio interviews at C/O Pop (Germany), panels at Midem with Ed Banger (Cannes, France), BAFIM (Argentina), M (Canada), A2IM (USA), Reeperbahn (Germany)

Music Background and Personal projects

• Bi-Monthly Radio Show Host on The Lot Radio w/ international music + various guests: M. Mooney (Can), J. Lindner (Bowie’s last Keyboardist), Chassol, Vincent Moon, Ghostly International’s Founder…Follow movies’ music placements and create customized playlists

• Regular DJ at Brooklyn locations: Downton Music Publishing Christmas Party, Donna, Achilles Heel, St Mazie (vinyl and CDJs)

• Formerly: Independent Concert Promoter with indie labels such as Kompakt, Ghostly, Marketing Coordinator at Music Experiential Agency Giant Step (Cole Haan, Absolut with Empire of The Sun, Holy Ghost, Diplo), and Project Manager at the French Music export Office

• Trilingual (French, German, English) in NYC since 2009; 10 years of Classical musical school (clarinet)

• Vinyl collector; Currently in the studio composing music between Ableton, some analog synths and drum machines DOUBLE EXPERTISE WITH CREATIVE AND LICENSING SERVICES CREATIVE EXPERTISE AND SERVICES

All formats: Digital, Paid media, socials, VR, Prommercial, TV shows, Films, Music Videos

MUSIC STRATEGY MUSIC BRIEF CREATION TALENT & MUSIC SEARCH

ORIGINAL MUSIC CREATION CONFERENCE & COMPOSER MANAGEMENT SOUND DESIGN AND MIXING & FESTIVAL NETWORKING CREATIVE CAPABILITIES THROUGH ALL PRODUCTION PHASES

Pitching Phase Pre-Production Edit Phase Post Production

• Definition of the content equity • Script Review: report all • Manage the music • Manage final sound and music identity sections featuring incidental or creation between the design and mixing phase • Target audience background music, suggest composer, creatives and • Talent, music, and sound talent and source music for editor; research music; suggestions creative and editors tailored to support edits with music • Design brief creation the content’s creative and & sound design budgetary needs placements

When not in production: I attend music conferences / festivals, speak on prominent music panels, meet with labels / publishers / managers to stay up to date on the latest releases and artists and maintain strong relationships and networks. LICENSING EXPERTISE AND SERVICES

All formats: Digital, Paid media, socials, VR, Prommercial, TV shows, Films, Music Videos

LICENSING & NEGOTIATION WITH MUSIC ESTIMATES LABELS AND PUBLISHERS

TALENT VETTING, WATCHDOWNS AND MUSICOLOGY REVIEW

CONTRACT WRITING CUE SHEET LICENSING CAPABILITIES THROUGH ALL PRODUCTION PHASES

I am not only a creative Music Supervisor but I also provide licensing solutions to manage the director’s expectations with suggestions; due to my music background and my transparency, I am also skilled at communicating with a team and translating their needs for a composer to deliver music within our timeline.

Pitching Phase Pre-Production Edit Phase Post Production

• Define Client Terms and • Vet music, talent, camera • Watch down cuts, negotiate • Contract writing, cue sheets provide budget ballparks performances before shoots and secure the music licensing rights; maintain internal and external communication to manage expectations MY MUSIC NETWORK

Local & global, cross-genre, and cross-era we target the right artist(s) & music for each need. Artists from my recent campaigns MY NETWORK: EXISTING MUSIC

Future From majors to indie artists, my extensive & eclectic network allows me to target the right artist, bands or composer according to each music need, character or scene; our experience and positioning in the marketplace allows for many options on any budget

MAJOR LABELS / PUBLISHERS: Universal, Sony ATV, BMG, Warner Chappell • Big artists I worked with: Future, Miguel, Dua Lipa, Lapsley, Aurora, Vince Staples, Action Bronson, Eminem, Tyler The Creator, Arcade Fire, Charli XCX, FKA Twigs, Shamir, Jhene Aiko, Cardi B, Run the Jewels, Aluna George, Lolawolf, Phantogram, • Budget: $$$, clearances through several parties

Baauer INTERNATIONAL INDIE LABELS: Domino, Beggars, Ghostly, Kobalt, ZZK, Light In The Attic, K7, Numero • Up-and-coming artists I worked with: Animal Collective, Danny Brown, Princess Nokia, Black Lips, Run The Jewels, • Budget: $$, clearances through less parties, often slightly faster

UNSIGNED BANDS: Up-and-coming, followed by cultural platforms; increasing socials • Entities & Artists I worked with: We Are Free, Paradigm, Kilo Kish, Discwoman, Illa J, The Black Madonna Discwoman • Budget: $, way more flexible about the asks and hungry about promotion, faster turnarounds

LIBRARIES: Artist libraries from actual labels with unreleased tracks or premium cues made by composers • Example: Erased Tapes Music, Ghostly Library, Marmoset, APM • Budget: $, easy and quick clearances

Shigeto (Ghostly Library) MY NETWORK: ORIGINAL MUSIC

Nick Zinner (Yeah,Missy Yeah, Mazzoli Yeahs) My wide network of music houses and independent composers as well as my capability to (Mozart in The Jungle) manage them allows to respond to different briefs and budgets with bespoke creative solutions.

MUSIC HOUSES: • Examples of entities I worked with: Squeak E Clean (Kenzo World Commercial), Human, Elias Arts, Future Perfect • Budget: $$, as these are big entities and big deliveries require limited rounds of revisions Atticus Ross (The Social Network)

GHOSTWRITERS & INDEPENDENT COMPOSERS I AM CONNECT OR WORKED WITH: • Atticus Ross (The Social Network), Kurt Uenala (Depeche Mode), Lafawndah, Stelios Phili (A$AP Ferg, Missy Elliott, SZA, MIA collaborators, Alex somers (Jonsi & Alex, Sigur Ros), David Scott Stone (The Melvins, LCD), Sure (The Raveonettes, Amadeo (Blonde Red Head), Missy Mazzoli (Mozart In The Jungle)

• Budget: depends on the composer; price flexibility; direct access, flexibility with revisions Lafawndah

Dave Harrington (half of Darkside w/ Nicolas Jaar) MY INTERNATIONAL + CROSS-ERA MUSIC NETWORK

I carefully customize authentic music searches which allows me to watch the Director’s vision as well as the Audience by engaging musicians from a range of countries to accurately capture the local scene or era. This genuinely translates the heritage or local context of a story.

Some label examples from my international / cross-era music network: Examples Of Past Film & Tv Work (Within Vice Or As Side Projects)

More examples, and TV + branded content work: https://www.charlottevonkotze.com VICELAND TV Show Earthworks (2017)

• Camera band performances (new & existing tracks) + interaction w/ locals about climate issues • Handled a mix of pre-production needs, camera performances, live music, local music serches, and background licensing; • managed the theme track production by Local Natives • Therefore, good budget balance adapted on the day to day thanks to different sources which even generated savings • Within each 45 min episode: 50% - 70% of music from bands; 30 - 50% of music comes from indie labels, libraries, unsigned artists • Content opportunity for the artist: i.e. Animal Collective’s new EP “Meetings Of The Water”

Series Trailer here

Animal Collective in Brazil Miguel in Mexico Local Natives in Colorado https://www.youtube.com/watch?v=rAVQujoD1Ls Feature Documentary “The Most Unknown” (2018) Trailer here Directed by Ian Cheney with Werner Herzog as Consultant Distributed on Motherboard / VICE Up for distribution in theaters Confirmed at CPH Dox Festival in Copenhagen

Synopsis: An endless chain of discovery about scientists from Italy, Costa Rica, Norway, Hawai, Puerto Rico hosting a stranger and becoming the stranger somewhere else.

Role: Music Supervisor managing:

• 90+ min of original cues composed by Air Cricket

• Licensing of “Brother Sport” by Animal Collective for the end track

More examples, and TV + branded content work https://www.charlottevonkotze.com Feature Documentary Trailer here “Moving Stories” (2018)

Directed by Sundance Winner Rob Fruchtman Selected for London Film Finance Market and Doc Fortnight at MoMA (Official Selection)

Synopsis: Journey about the acclaimed Battery Dance Company who travels the world working with young people who've suffered severe trauma.

Role: Music Supervisor managing the clearance of 5 tracks for a total of less than 20k, cleared all media in perp:

• Licensing including of the renown cue “Channels & Winds” by Philip Glass & Ravi Shankar for 5k All media in perpetuity

• Sourcing, replacing, and licensing music for local scenes in Korea and the epilogue / credit scene

More examples, and TV + branded content work https://www.charlottevonkotze.com Short Films by Tannaz Hazemi

“Before The Bomb” (2015) “Hail Mary Country” (2017)

14 Wins and 5 Supported by AFI Conservatory Nominations Directing Workshop for Women; Premiere at Slamdance Festival

Synopsis: 10 year old Synopsis: A house robbery in suburbia Elsa decides to take goes awry and leads to a showdown matters into her own between the victims and the robbers; hands when a visit from focus on a Bentley Car building Child Services threatens to interactions between the characters Trailer here separate her from her Trailer here brother Morris. Role: Music Consultant providing and licensing Role: Music Supervisor managing the music replacements in a whole score of Maya Postepski very short timeline for All (Drummer of Austra) + searching and Media In Perp including for licensing all cues including tons of “The Great Pretender” drones; main liaison with Director, performed by Soko Producer, Editor, and Composer https://www.charlottevonkotze.com/tvfilmdocumentaries/#/short-movie-hail-mary- More examples, and TV + branded content work https://www.charlottevonkotze.com country/ QUOTES AND TESTIMONIALS TESTIMONIALS ABOUT SPECIFIC MUSIC SEARCHES

”We’re thrilled that you got these pieces for us and for the fees you negotiated!Thank you so much for all your work on this. You’ve done – and continue to do – an amazing job.” | Cornelia Ravenal, Producer, Director, and Partner of Wilderness Films and on “Moving Stories”

"Charlotte you're so good at your job! I'm super super excited about one of your track options, which couldn't be any more perfect for the moment in the movie in my opinion: Thank you so much!" | Tannaz Hazemi, Director of short movies "Hail Mary Country" and "Before The Bomb"

About “Equalizing Women” (link here) feat. The Black Madonna and DJ Rachael: “Charlotte’s musical insights and expertise were invaluable to the piece, which has now been viewed more than one million times on YouTube. She was both passionate about the subject, and also a true creative collaborator - suggesting music cues for specific moments in the edit, finding tracks with the same BPM from both DJs, and seeking out independent artists that were a perfect fit for the piece. Working within a tight schedule and limited budget, Charlotte was dedicated and thoughtful, often working with me after regular business hours to make sure I had all the tracks I needed. What I see in Charlotte is a true passion, attention to detail, and a talented music supervisor who deserves to be recognized. I look forward to working with her again!” Malika Zouhali-Worrall - Emmy Award winner, independent filmmaker, and editor

About “Without Walls” (link here): “Because this film was about honoring the struggle that Mexican people face at the US border wall, the production of this piece was handled very deliberately. was one of the biggest champions of this artistic choice and made sure that the music reflected this same ethos. She spent countless hours immersing herself in Mexican and South American music. All of her music selections were purposeful and thoughtful.” | Abby Bralove - Senior Producer at Vogue (ex VICE)”

About Noisey & Belvedere feat. Future (link here) “Due to the fact that this commercial spot was largely driven by music and a musician it was crucial that Charlotte found music that both matched the spirit of the artist involved, but also tapped into the pop-culture zeitgeist Charlotte was involved in the creative process by learning the purpose, tone and feel the video needed to have and applying those factors to music selection. She was able to take vague references and deliver music that was spot on to our needs. The music choices provided a promotion boost for the artist and made our video feel really current.” | Omid Fatemi, Freelance, Senior Creative Producer / Director GENERAL MUSIC TESTIMONIALS*

“Charlotte was the musical heart of the Earthworks series. Never has music been so important to creating meaningful content and never has it been done so well. We were lucky to have her guidance and direction.” Trent Rohner - Senior Creative at VICELAND

“Charlotte von Kotze has been an instrumental figure in most of my projects while at VICE. When it came time for finding tracks for the Delta Launchpad's film-focused video content, Charlotte excelled at matching the cinematic nature of our subject matter (film) with evocative music that supported the films we were featuring, as well as the filmmakers who were telling their story.Working with Charlotte, I always feel that my music needs are well cared for and look forward to continue our collaboration.” | Charlotte Japp - Senior Creative at VICE

“Charlotte understands how syncs are not just plug and play, but can further expand relationships with talent in particular projects. On the Earthworks TV show and a Delta experiential and branded Project, her selections were interesting and dynamic, always displaying her keen ear for artist selection. She maintains a talent first approach while still proactively reacting to the parameters of budget. She a very strong understanding of the collaborative process, taking into consideration key stakeholders from video and music rights holders to harmoniously place music in each project.” | Gabrielle Shaw, Marketing Production Lead at YouTube (ex Producer at VICE)

“Charlotte cares about programs deeply, and takes incredible pride on completely maxing out every opportunity to ensure that each and every piece of content not only has the best music experience possible, but also the best marketing plan. She makes these things happen because of her relationships with the artists, labels and rights-holders, management, and because she does it all in the name of quality.” Kim Persse, Head of Brand Programs for VICELAND

*MORE REFERENCES FROM FILM DIRECTORS AND PRODUCERS FROM SIDE PROJECTS AVAILABLE UPON REQUEST https://thumbnailer.mixcloud.com/unsafe/300x300/extaudio/8/4/c/7/393f-LET’S TALK! a531-40f3-9109-b0ee2f0c581a Charlotte von Kotze [email protected] / +1. 646.657.7412

Charlotte von Kotze hosting her bi-monthly eclectic show at The Lot Radio (NYC)