Music Supervisor.com Spotlights
Bronwen Boyan
Music Supervisor/Coordinator Bronwen Boyan's credits include License to Wed, The Whole Ten Yards, Alpha Dog and Big Momma's House. She has worked at Island/Def Jam Records with music supervisor Spring Aspers for the last several years.
Q: How does MS-Pro help you do your job?
A: 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.
Q: How does new technology especially digital and internet affect the way you do your job?
A: 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 mp3's 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.
Q: What are the biggest challenges you face as a music supervisor?
A: 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.
Q: What if a major song is temped into a movie and you just can't clear it?
A: 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?
Q: What do you do if a song everyone wants is not working against picture?
A: 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.
Q: 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?
A: 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.
Q: What was your strangest request?
A: 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?
Q: Tightest deadline?
A: I've had to clear songs on the dub stage with a Blackberry.
Q: Where do you like to listen to music?
A: I like to listen to music in my car. At the office I'm on the phone, so if I put music on and its 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.
Q: 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.
Q: What advice for people who want to get into music supervision?
A: 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, its 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!