A former Motown recording artist, Glasser has also enjoyed a successful career as a composer and songwriter. He has scored several films, including most recently, Poolhall Junkies; past projects include Baywatch Summerfest, Madonna Exposed, The Marilyn Files, The Elvis Files and The Kennedy Assassinations. His songs have been recorded by some of the music industry’s top artists such as Stevie Wonder, Vicki Carr, Anne Murray and Vic Damone. He played and sang on Harry Nilsson’s “Zombie Jamboree.” He has also produced several soundtrack records including “Crash” (both Soundtrack and Music Inspired By releases).

How has the job of music supervisor changed since you started?

It’s changed with the technology, of course. But more importantly, the major labels are tightening up because record sales are way down. It becomes very difficult to create something with their music in mind because they are looking for the big dollar. From a creative and business perspective, the films I work on are looking for top-notch songs they can license that help make the film work and are within the budget.

How has MusicSupervisor.com helped you do your job?

The environment in the music business is why I turn to alternative companies like MusicSupervisor.com. Case in point is What Doesn’t Kill You, the new Yari Film release I just supervised. They came up with real masters of great artists that fit the scenes. Although a lot of people don’t know who they are — they will feel they know who they are. MusicSupervisor.com really came through — better than all the other companies. Once they got on track as to what I was looking for, they nailed it. And from that, we got two of the most important music pieces in the film (Swamp Dogg’s “Buzzard Luck” and “Funktastic Galactical Rock”).

What is the greatest challenge you have as a music supervisor?

Psychology 101 is the most important course a music supervisor can take. If you can read minds, you’ll be a great music supervisor. It’s pretty easy once you know what a director or producer is looking for. Getting to that point is difficult. Normally directors have a wish list. But when you are doing a three-million-dollar film and your projected license fees are going to be a half-million dollars, it’s difficult! So you have to turn the directors’ heads around by giving them choices. And what you try to do is go out to companies who will work within your budget and present a play list that is close to what the filmmaker is looking for. And then it’s a process of elimination — this scene really works, and it doesn’t always have to be Marvyn Gaye, it can be this indie artist.

What about recognition of music supervisors by NARAS — and why should supervisors be eligible for Oscars©?

It’s about time music supervisors got recognized in this business. They’re the ones who make or break movies. A score is a score, but the placement of source material and songs is critical to a scene and the impact of the entire film. Perfect example is Forest Gump. Think of it with just a score and no songs — you would not be able to relate to the time periods without the tunes. I’m happy that supervisors are trying to build a coalition. I’m trying to work with other supervisors to get an award and vote for the Oscars©.

What about a proposed union for music supervisors?

This is long overdue. Maureen Crowe (music supervisor) has been on the forefront of this. Music Supervisors need to work hand in hand with each other. At the very least, companies need to be able to go to a reliable source to find a qualified music supervisor.

What is the future of film/TV music?

The future is in sites like Myspace. Someone will build the technology to take everybody’s music and be able to search within a database that will reach all over the world. I don’t know how it can be done. There is not a universal search where you can go to license; one step where you can find anything. You have to go to several different sources. By the next generation major record labels will be out of business, artists will be in business for themselves. Licensors like MusicSupervisor.com will be able to cut a deal with that artist, and artists will benefit and make money. People are tired of the big record labels and publishers promising and giving nothing.

How does MS-Pro help you do your job?

I use MusicSupervisor.com all the time. It’s made my life so much easier. I know that I can clear stuff with you guys really fast, even if I have an hour to replace something. A good example is the Buckeleven song I found for Lars and the Real Girl. I was replacing a Buck Owen song. I went to your site and used the “sounds-like” selection, and a bunch of stuff came up. I found the song and cleared it that day. Another thing I like about MS-Pro — .mp3 files sound quality suck — so to be able to pull down a .wav file while you’re on the soundstage is genius. Also, although it’s getting a little better now, when you’re looking for publishing information on BMI or ASCAP, it’s never complete. When you go to MusicSupervisor.com and all that info is there — and it’s trustworthy — that’s a lifesaver as well.

How does new technology especially digital and internet affect the way you do your job?

You can get things done much faster, and sending music is much easier. What’s difficult is when you are getting a lot of “pitches.” Digital links are fine, but most people that just go off the cuff and start emailing you .mp3s and writing “This is the best song ever!” You can’t listen to it all. When it’s all coming to my computer, my computer crashes. That happens all the time to music supervisors. You get inundated.

What are the biggest challenges you face as a music supervisor?

Getting things cleared in time and at an affordable price. Television moves at such a fast pace, everything is needed in 24 hours. For film, you’re still pressurized, but you usually have a little more time. Clearance also depends on other factors: if you’re working with hip hop music, for example, you sometimes have ten writers, samples, and writers that control .3333 percent and you’ve got to track them all down. Sometimes I’m texting them down on their blackberries and I get the — “I’ll get back to you…” but they never do. Little things like that!

The other big challenge is the major publishers and master owners, especially if you want recognizable music. Getting music for a decent price is hard; everyone’s very expensive. Film and TV is looked upon as the “new radio.” So master owners, bigger labels and publishers are more apt to hike the price, which is their right.

What if a major song is temped into a movie and you just can’t clear it?

It’s a huge issue. People are going to be disappointed. The most important thing to a music supervisor is their relationships with the people at the labels, the artists and publishers. It behooves you to pre-clear before sending music to the director — are you going to charge me five million dollars? Can it clear? Am I going to have problems? Is it going to be expensive?

What do you do if a song everyone wants is not working against picture?

The best modus operandi with the director, producer (and let’s not forget about the studio people, because they’re paying for it, and they have plenty of say) is just to say it. No one is going to respect you if you don’t have an opinion, especially as a music supervisor, because that’s what you do. You’re supposed to be sort of music inclined, and have good taste! You say it delicately. I don’t say, “That sucks” — but “Oh, I think we could find something better for that slot.” And you always have your reasons for it and have back up ideas and options. You must have options. Sometimes you have to guide them about what works in the scene. That is the crux of being a good music supervisor — having options.

One of the things we always hear is that its better for the supervisor to get in early in a production, even at the script stage and pre-production. How early to you get to get in?

That depends on the project. The low budget film I’m working on, How She Move, was picked up at Sundance, so the film was completed. All the original music was purchased. Paramount Vantage bought it, and now we’re re-doing the music. Because it was shot in Canada with the union laws, we can’t hire a composer to write anything who isn’t Canadian. I came on very late to help the whole music vibe of the film.

In general, if there is no on-camera pre-records and there’s nothing going on particularly music oriented, you don’t have to come on until after shooting. If its music intensive, however, you should come on early. It’s always better to start working with a director early because you can get a general idea of their music tastes or music vibes. You start to live together, get to know each other musically. You work hard with a director on the first director’s cut for the studio so it basically blows everybody away. And then we pare it down from there.

What was your strangest request?

Recently a director asked me for multi-tracks on a song that was written and recorded in 1952. Sometimes it’ll be questions like, “Can I license Johnny Cash for $200?”

Tightest deadline?

I’ve had to clear songs on the dub stage with a Blackberry.

Where do you like to listen to music?

I like to listen to music in my car. At the office I’m on the phone, so if I put music on and it’s more background, I don’t get to concentrate as much. At home, because music is my work, I don’t have music on, because that’s what I do all day! That’s changed a lot since I’ve become a music supervisor.

What’s your background?

I grew up with a lot of friends in bands and around music. In college business was my major, and music was my minor. I sort of fell into it. A friend of mine’s father started the “King Biscuit Flower Hour,” and I started working for him. I worked awhile for public radio. I always loved music and I loved film. I asked myself, how do I put the two together? A friend of mine Spring Aspers called — she was a freelance supervisor in L.A., so I moved out.

What advice for people who want to get into music supervision?

My only advice is unfortunately, you have to work for free at first. You really have to learn how to do it. There’s a lot of detail involved, it’s not just putting music to picture. To be a good music supervisor you have to learn how to clear music, which is difficult. You have to have some familiarity with the legalities of it. Tell aspiring music supervisors to develop relationships, intern and don’t expect to be paid for one minute!