Philadelphia - Music in TV, Games, and Film
On Saturday, Jan. 14, The Recording Academy Philadelphia Chapter welcomed the music community to an all day professional development event, Music in TV, Games, and Film at WHYY studios. The event was a look at how music makers meet and work with those in the tv, gaming and film industries, an area of growing revenue for many. Over 100 guests were in attendance for an afternoon of insightful panels beginning with a keynote Alex Steyermark - Film Director (Prey for Rock & Roll, Losers Take All) and Music Supervisor (Malcolm X, I Know What You Did Last Summer, Hedwig and the Angry Inch).
Steyermark was very straight forward in his speech to attendees. “Saying YES a lot really got me started” he told the crowd, driving home the importance of taking on as many projects as you can when you are beginning down this career path.
Steyermark asked that hopeful musicians and composers be humble in their approach to pitching decision makers. He advised that composers start at film schools where students are constantly making films and searching for music for them. He cited that absence of connection as one of the reasons he started his workshop at Columbia University. Steyermark also cautioned to keep a personal connection to the music that you make for film. That has been the music that stuck out to him the most as a music supervisor.
The first panel, Songs for the Flat Screen, looked at music in television, and was moderated by Chapter Governor and Temple professor Jack Klotz. Panelists featured were Chuck Butler (Composer, Monster Tracks), Keath Lowry (Composer, Songwriter -Lean On Me, When Will I Be Loved, Little Soldier, MTV shows), Deborah Manis-Gardner (President, DMG Clearances) and Aly Solot (Owner, Its Probably Music).
One thing the panelists wanted attendees to understand was that there are two different avenues when it comes to getting music placed in TV (and film). There are songwriters and musicians who are making music that may get placed in a production, and there are composers that work under the direction of a director or compose specifically for their needs. Aly Solot iterated that attendees should know exactly which avenue they are pursuing and how to best cater their music to a client’s needs.
Manis-Gardner discussed the importance of having someone in both the United States and abroad handling your publishing. She feels many don’t take advantage of the opportunities to make money overseas.
Music for Chasing Bad Guys followed, and this look at music in gaming was moderated by Composer and Board Governor Rodney Whittenberg. The highly enthusiastic panel included Adam Nash (Composer, COO at Artizens), Natalia Romiszewski (Music Supervisor -Saints Row 3 & MLB 2K 2012), Dain Saint (Technical Director and Composer, Cipherprime), and Mike Worth (COO & Audio Director, Play Eternal). The panel made it clear that the game world was just a little different than TV and Film, and that being an avid gamer will help you talk the talk and understand the nuances of gaming music. One of the other big differences cited was the turnaround time for game developers: most games have 18-24 months of development so composers have a longer period of networking time to get to know and work with game developers.
Saint offered that up and coming composers should work with indie game developers. He and Worth recommended several conferences that composers should go to, including Indiecade in Clover City in October, where you can network with a lot of developers. Vibrant cities for game developers mentioned by the panelists included Vancouver, San Francisco, Austin, Washington D.C. and New York.
The third panel, Blockbusters and Indie Flicks, looked at music in film. This panel was moderated by Philadelphia Chapter Secretary and Entertainment attorney Lori Landew of Fox Rothschild, LLC and included Ben Hinkernell (Film Director -Lebanon, PA.; Backwards), Maori Holmes (independent film director and producer) , Robin Joseph (Sr. Creative Director for Film & TV, Primary Wave Music), Eran Preis (Screenplay writer and director), and Rodney Whittenberg.
Rodney Whittenberg described making his way into the world of composing for film through mentors and informational interviews. Whittenberg explained that he would go to watch orchestral pieces and read the sheet music as they played. And then he began scoring for everything he could, including a lot of dance pieces.
Landew brought to the panelists’ attention the importance of temp tracks in film. All the panelists agreed that composers and music makers should try to have their music used as “temp tracks” in films. Temp tracks are place holders for the real music that will be placed in after licensing is secured. But often music supervisors like the temporary music and keep it in the film.
Joseph warned the audience to pitch their music correctly. She was not shy about the things that immediately get an email deleted from her inbox. She explained that there is a marriage as a music supervisor of the business side of things and the creative side. Joseph also discouraged listeners from using pitching companies that will charge fees to pitch your music.
Following the film panel, attendees gathered in the foyer outside of the Lincoln Financial Digital Education suite for refreshments and further networking with all the panelists. Many in attendance left feeling like they received a wealth of information and were looking forward to using the advice in practice. The Philadelphia Chapter would like to thank WHYY and the sponsors for the evening, Discmakers, Fox Rothschild, LLC, and The Cummins Team at Janney Montgomery Scott, LLC.