Creating Custom Songs for Film, TV,

Trailers & Ads

Organizer:Amanda Krieg Thomas

Moderator:Josh Collum

speakers

● Josh Collum (Co-Founder & Partner, Sorted Noise)

● Heather Guibert (Music Supervisor, Francium Enterprises)

● Michael Freeman (Senior Music Producer, Ogilvy & Mather)

● Holley Maher (Singer/Songwriter)

The Marriage of Music and Image● The two are inextricably linked; music is an essential

storytelling device.

● Score provides the foundation, while songs reflect and enhance key moments.

● Many artists want their music used in film, TV, ads or trailers, but not every song is appropriate for every medium.

● Each medium has different objectives, hence the music has to serve different purposes, and fill different requirements, depending on the content.

What makes a song “syncable” for film, TV, ads or trailers?

"Songs are a part of the storytelling but can't 'get in the way' of the actors and actresses. A song needs to enhance what is already being communicated."

- Amy Stroup (Sugar & The Hi-Lows)

● Ads/Commercials/Promos/Trailers○ All are selling something, so need to quickly grab a viewer’s attention○ Tempo that pushes the picture forward○ A clear and catchy hook○ Trailers tend to have a three-part build. Down section, to tension building

lift, to a release of that tension

● TV/Film○ Production that doesn’t jump off the picture or get in the way of dialogue○ Instrumental builds and changes throughout○ Lyrics that speak to universal feelings and experiences○ Tone and tempo designed to elicit an emotional response.

What traits make a song difficult to place?

● Specific names of people or places, years

● Contrasting tone and lyric content (e.g a mid to uptempo song with somewhat positive feeling production, but a lyric message that’s about breaking up).

● Busy or poor production

“Strange sounds, sound effects, dialogue, anything like that pops out of the basic song structure can derail a synch. Those can easily detract from the moment of the synch. How the vocals are mixed can be super important. Vocals that are more pronounced or front in the track can be problematic.”

- Heather Guibert (Music Supervisor, Francium Enterprises)

What is the basic process for creating an original song for media?

1. The brief is sent out to licensing companies. Ideally the scene has already been shot, and the artist is writing/recording to picture. Other times only a scene description is sent, or direction from the agency or supervisor as to what they’re looking for in an original song.

2. Research. The company gathers as much information as possible about what conversations have taken place and the desired direction (“What does ‘epic’ sound like to you?”)

3. Details are passed along to the artist. “In many ways, it’s a different language. And every artist responds differently.” - Josh Collum (Co-Founder & Partner, Sorted Noise)

4. The artist begins writing, with guidance from their licensing company representative.

5. Recording. Once the song has been written, it’s time to meet with the production team to ensure everyone is aiming at the same aural target. “It’s about making a great song first and foremost. One that doesn’t feel like it’s forced.” - Josh Collum

6. Submission and revisions. This can be a long process, especially in the ad world. It’s important to be fast and flexible. “That flexibility is usually the deciding factor between winning the job or not.” - Josh Collum

What is essential advice for a songwriter?

● Do your research

● Pick up the phone

● Ask the right questions

● Read

"For the song I wrote with iZLER for Revenge, I did just that. The show is based on the classic novel Count of Monte Cristo. For that assignment I read excerpts from the original classic and watched the original film in order to pick up on the broad themes and broad emotions that the producers of the show were drawing from. The inspiration gave me ideas for not just one, but three songs that all have been placed on TV." - Amy Stroup

Where do artists most often fall flat in creating original songs for media?1. Being too direct or “on the nose”:

“What is most effective for sync is hitting the overarching theme of the moment, not giving a play-by-play. The viewer can see what’s going on, you want to make them feel and understand the big picture, whatever that may be.” - Heather Guibert

2. Telling someone else’s story. What is on screen is the most important, and the lyrics need to support the visual rather than internal experience.

What are the biggest struggles for an artist?

1. Short turn around times2. Extensive revisions3. Miscommunication of artistic vision and goals.

“When we receive an "ask" for a song, it is usually brief, describing what the client is looking for. The problem is that the terms we use to describe art are often very subjective and open to interpretation. You just have to take what you're given and hope that you're translating it correctly. There's not a lot of time to ask too many questions, especially for television shows.”

- Holley Maher (Singer/Songwriter)

You win some, you lose some: Holley Maher for IKEA and The Vampire Diaries

IKEAWe were provided not only with a descriptive brief, but with a multiple page PDF which included plots points from the script, visuals, and the emotions that the campaign was trying to provoke. If I got stuck, I'd just go back and read that, sometimes pilfering words or sentiments directly from it to build my verses. I was able to write three songs in a day or two for that project, because I felt that I understood what they were looking for and I wanted to present that in a few different ways. Two of my songs ended up making it into the "final rounds," and "The Only Walls For Me" made it into the commercial.

The Vampire DiariesChris Mollere (Music Supervisor) came down to our recording studio for the weekend. Three of our songwriters were asked to join, and Chris had chosen scenes particularly for us from The Vampire Diaries and its spinoff, The Originals. I was able to watch a rough cut of the scene and ask questions about what he was looking for, face-to-face. We shut ourselves up for an hour or so, and came out when we had a "rough draft" of a song. Chris and the Sorted Noise team were able to give me direction and guidance as I was writing it. We recorded it together the next day, and then it was off to LA with Chris. It didn’t make it into the show, but was a really cool experience.

ADDITIONAL Questions

● How often do brands, producers or filmmakers go into the process knowing they want an original song, versus something needing to be created during production or post production?

● Are there ways for artists to practice or prepare for the opportunity to write a song to picture?

● What is the biggest difference in the process of writing for film, television, ads and trailers between today and ten years ago?

● What is the most important role for someone who pitches music, or the music supervisor, in this process? What is the best way they can support their artists/songwriters?

The Bottom Line

Experts with extensive experience in publishing, music supervision, artist development, songwriting as well as a successful artist, will reveal the behind the scenes process of writing for film, TV, ads and trailers. They will offer cautionary tales, tips and advice for those looking to break into the field.