Richard Glasser is head music executive for the Yari Film Group. Glasser has served as music supervisor for major motion pictures including the film Crash, which received the Academy© Award for Best Picture. His supervision credits also include Hostage, starring Bruce Willis; Painted Veil, starring Ed Norton and Naomi Watts; The Illusionist; Kickin’ It Old Skool, starring Jamie Kennedy; First Snow, starring Guy Pearce; Gray Matters, starring Heather Graham; Find Me Guilty, starring Vin Diesel; and Even Money, starring Danny DeVito.

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.