The National Association of Record Industry Professionals presents How To Place Music In Hollywood Films, Television & Trailers April 3, 2013 ● Espace Oscar Niemeyer ● Paris, France Contents Page Upcoming NARIP Events 2 Excerpts from Tess Taylor’s Music Licensing Handbook 3 In Production: Where To Find Who’s Working On What 6 Important Deal Points in a Music License Agreement 7 Synchronization License Request (Quote Sheet) 8 Synchronization & Master Use License 9 Music Cue Sheet 13 Songwriter’s Split Agreement 14 Important Metadata 15 How To Market Music For Trailers: Interview -w- Big Picture’s Marcy Bulkeley 16 How To Market Music For Trailers: Top Tips from Ignition’s Natalie Baartz 18 Top Ten Tips to Market and License Music for Film & TV by Carolyn Richardson 20 Top Tips for Music Licensing by Jeff Straw 21 Music Licensing Submission Tips by Chris Austria 22 Recommended Reading & Resources For Better Licensing 23 Glossary of Music Licensing Terms 24 Other NARIP Programs of Interest 31 Executive Profiles 32 About NARIP 35 NARIP Officers 36 Special thanks to Romain Vivien, Michel Nassif, Marie-Anne Robert, Pauline Garel, Adrien Simonnet, Eric Michon, Michele Amar, Romain Berrod and Mathias Milliard. NARIP dedicates this program to creators of music and to those who support, promote and market their work. Follow us @NARIP, tweet about our event! #NARIP NARIP is the biggest music business network in the world. NARIP promotes career advancement, education and good will among record executives. Compilation © 2013 NARIP, all rights reserved. Unauthorized duplication prohibited. _________________________________________________ Post Office Box 2446 ● Toluca Lake, CA 91610-2446 ● USA 818-769-7007 (US) ● +33 (0) 1 72 77 43 61 (France) ● +44 (0) 203-002-8247 (UK) [email protected] ● www.narip.com ● @narip ● youtube.com/narip facebook.com/naripFB ● Instagram: NARIP ● http://linkd.in/NARIP-LinkedIn Upcoming Events NARIP is the biggest music business network in the world. We promote career advancement, education and good will among record executives. Paris Apr 03 How To Place Music In Hollywood Films, Television and Trailers Apr 05 NARIP Trailer MSS w/ Big Picture Entertainment’s Marcy Bulkeley Apr 05 NARIP Film & TV MSS w/ Firestarter’s Andrea von Foerster Apr 06 NARIP Trailer MSS w/ Big Picture Entertainment’s Marcy Bulkeley Apr 06 NARIP Tilm & TV MSS w/ Firestarter’s Andrea von Foerster Los Angeles Apr 13 NARIP Music Biz Brunch at Weinglass Music Apr 24 NARIP Film & TV MSS with VH1’s Paul Logan May 01 NARIP Trailer MSS w/ Trailer Park’s Toddrick Spalding New York Mar 30 NARIP Music Biz Brunch @ Sandshifter Music TBA More NARIP Film, TV & Ad Agency Music Supervisor Sessions Atlanta Mar 13 Music Publishing Deal Mock Negotiation April 17 NARIP Panel - save the date (Topic: Artist Branding) Apr 20 NARIP Music Biz Brunch at Silent Sound Studios May 15 NARIP Panel - save the date Jun 12 NARIP Panel - save the date Austin Mar 13 NARIP Film TV MSS with Andrea von Foerster @ SXSW – *FULL* Mar 13 Expert Networking w/ YouTube Music, xBox, Tracks & Fields & Glassnote Execs Houston Mar 17 NARIP Music Biz Mixer @ ZapBoomBang Studios Mar 23 NARIP Music Biz Brunch @ Media Tech Apr 30 Music in Advertising Phoenix Mar 30 NARIP Games MSS with Sony PlayStation’s Alex Hackford London TBA NARIP MSS w/ Chop Shop’s Alexandra Patsavas (Twilight, The O.C.) TBA NARIP MSS w/ Aperture’s Jonathan Leahy (Community, Girls, Raising Hope) TBA NARIP MSS w/ Go Music’s Gary Calamar (True Blood, Longmire, Dexter) Key: MSS = Music Supervisor Session. Dates subject to change. Get details, register, subscribe FREE at narip.com, call 818-769-7007, follow @narip Missed a NARIP program? Get it at narip.com/shop. Can’t attend? Join us in a Google Hangout. Compilation © 2013 NARIP. All rights reserved. Got docs? Resources, form agreements & more at narip.com 2 Excerpts from Tess Taylor’s forthcoming Music Licensing Handbook @TessTaylor, @NARIP © 2013 Tess Taylor. All rights reserved, unauthorized duplication prohibited. Having created NARIP’s Music Supervisor Sessions and interviewed almost fifty of the top music supervisors in the film, TV, trailer, games, trailer and advertising sectors, I want to share a few tips I’ve gathered from them to help you get the music you represent into the right hands and licensed! Music placement has become intensely competitive, especially with more independent artists than there are molecules in the universe, all of them wanting placements. When you seek to place music you compete with them (the abundant indies) as well as with major artists and their labels, major music publishers and all the indie labels and publishers, production houses and music libraries for the short attention spans of busy, over-worked, frequently under-paid music supervisors. You should therefore research, research, research and target, target, target. Don’t waste someone’s time with a bad or poorly targeted pitch, this marks you as an amateur. And lazy. Pitching isn’t hard but it takes great (and appropriate) music, good timing, impeccable meta data, good relationships and FAST, personalized service when someone wants to license your material. Set Ego Aside Some of the best advice I have heard to make more placements is to set ego aside and write (or pitch) material that serves the picture. This may be more difficult advice for the songwriter or producer who pitches his own material – it is natural to become attached to something we’ve written or created. While I believe that music is one of the finest inventions of mankind, it’s clear that with film, TV, trailers, games and advertising, music must serve the characters and / or advance the story or support the product. To this end, being adaptable and willing to re-write or change music to fit a scene is smart and will result in more placements for you. When entering the placement arena, you shouldn’t be too precious about the music. Preparation & Research: First Impressions Count Whomever you choose to pitch to, you would be wise to conduct research first. You may safely assume that any busy music buyer or supervisor receives tons of new material every day (Andrea von Foerster says she gets over 1,000 emails per day, literally) so the way in which you present yourself and your music is important. Sloppy presentation is an early indicator that your data and record-keeping is probably sloppy, too, whether you present yourself in person, on the phone or via email. In the world of licensing, sloppiness breeds suspicion and distrust. In an email to a music supervisor, address him by name and make sure his name is spelled correctly (cut-and-paste introductory emails in which you forget to change the name of the recipient is a red flag as to your low level attention to detail, a big strike against you). No spam. That’s a sure sign of an amateur, laziness and poor research skills. These go hand in hand with bad administration that Compilation © 2013 NARIP. All rights reserved. Got docs? Resources, form agreements & more at narip.com 3 leads to legal snafus and litigation, people losing their jobs, things everyone wants to avoid. Impeccable presentation of yourself and your music (with data) are key. For my part, anyone who applies for a job at NARIP and (1) spells my name wrong, or (2) addresses his email as “To Whom It May Concern” or “Dear Sir or Madam” is immediately disqualified from ever working here – I wouldn’t hire a person so lazy that he can’t look up our Web site and find my name. Would you want someone like that handling your business? No way! Avoid sloppy emails! Write More About Less A “smart copyright” as John Houlihan puts it is a song such as U2’s “Beautiful Day” which is a theme so broad that it has almost infinite applications. This song been placed countless times. Keep the lyrics general and write about common themes for more placement opportunities. I’ve seen dozens of briefs from trailer music supervisors that seek songs with the following moods or themes: uplifting, triumphant, happy, energetic, fun, upbeat, heroic, creepy, dark, scary. Ad agency supervisors also look for happy, upbeat, energetic, quirky and fun. In the words of Saatchi & Saatchi’s Ryan Fitch, “sad, depressing songs don’t help sell stuff.” Keywords Keywords have become increasingly important because of the oceans of music out there. Yours may be the greatest song ever, but how to find it? Providing a short and accurate description of each song is immensely helpful when a supervisor is trying to find a song like yours and may not have time to listen to many tracks. Keywords may include a description of the 3 or 4 most prominent instruments in a song, the mood, male or female vocal and other descriptors. Here is an example of a good description with keywords for one song: “Anthemic with big brass chorus at :35, prominent instruments include roaring guitar, bass and trombone. Lyric speaks of courage and overcoming obstacles against difficult odds, heroic, uplifting, positive and inspiring.” It is useful to provide such a description with any special characteristics of a song for EACH song. We live in a universe of endless data where the SEARCH function has become increasingly critical. Keywords help people find YOUR material. Meta Data The importance of metadata has been emphasized repeatedly. Once you have keywords and a short, accurate description of each song, make sure all tracks submitted are clearly marked with this information as well as rights owner(s) contact details, artist, songwriter(s), publishing and master-owners, one-stop (yes or no?), etc.