The second edition of BMIM Special took place on the fifth of June, where matchmaking sessions, panels, and networking opportunities were the centre of attention. Our experts shared knowledge with their audience, and now it’s time for us to extend that wisdom.
Music used to play a modest role in films and series, but not anymore. The lead role is more often taken by music today than ever. This is partly the case because of the hard work of music supervisors, the driving force behind this shift. Their thorough strategy of working together with publishers, labels, and other parties has paid off. Placing music in trailers, games, TV series, films, and advertisements provides a major revenue source for the music industry. What are the latest developments in music supervision?
Meet these fantastic music supervisors who give you the answer by telling you about their work and the creative process. Sharing their knowledge are Karen Spearing (Music Supervisor for TV & Music Consultant, UK), Kathleen Wallfisch (Music Supervisor, Music In Vision, DE), and Polona Kasal (Music Supervisor, Resister Music, UK).
How did the role of music supervisor change to a more holistic music department instead of ‘just handing in’ playlists?
Karen Spearing starts: As productions and clearance requirements become more complex a Music Supervisor’s role can vary hugely, requiring a range of skills beyond creative. A full service music supervisor can handle any and all music elements from scripted/on camera to negotiation of sync fees / composer deals. The involvement of the production team has become more integrated with music and producers/directors often have their own preferences and connections with composers, for example, if they’ve worked with them before.
‘Producers/directors often have their own preferences and connections with composers, for example, if they’ve worked with them before.‘
Karen Spearing
Does that increase in choice make the workload for a music supervisor heavier?
Polona Kasal answers the question: ‘In music, work can be very demanding and very fast-paced. We first approach creatives, so we’re always looking for new people who will fit the brief for a project perfectly. Besides that, we’re always looking to find more female composers so we can create a healthy overall balance. We have an active approach to our job at this company: we go out to the gigs, to people’s online catalogues, and are just very active in searching for new music.’
How do you get a music supervisor to (re)hire you?
The answer comes from Kathleen Wallfisch. ‘We all know that there’s going to be a lot of people going to work on big drama series, for example. If you are one of the fortunate few getting asked back, it’s because you showed your working relations that you can do the job properly. Going back to the first question asked, I’ve always seen the best results when we are working collaboratively, so that includes the composer a well. If we know their interpersonal and working skills, we’re more likely to bring in this person again.’
What are the searches you’re about to brief out on?
Kathleen Wallfisch: ‘It’s always a big mix of genres because my work encompasses contracting, on-camera music, and overall music supervision. So, for me, it can be a big mix of classical, classical-inspired tracks. I’ve had a lot of very early music tracks that I’ve had to source recently because I’ve been on Gladiator. Early music is a whole sort of performance genre subtype where people play on reproduction instruments, from Roman instruments to medieval Baroque instruments.
Polona Kasal adds that although music can seem relatively niche, there’s always a market for it.
She says: ‘When you dive into it, you realise, oh, wow, that’s a big deal for many people. Saying: I’m the best person for you to licence Christian rock music from, or I play this really, really niche Roman instrument, will definitely help you.’
A ‘sad banger’
If it’s up to Karen Spearing, a ‘sad banger’ is always useful to receive. ‘I’m currently working on a drama called The Chelsea Detective. The main character there, he loves his classical music. But the projects I’m working on are quite mixed, so I don’t necessarily know what will come next. If things get sent to me, I listen through as much as I can.’
Don’t miss out on BMIM Special 2025
On May 28 we will organize third BMIM Special. Thé networking and knowledge event for everyone working in music media.
Get all the infoPhotos by Birgit Bijl
Text by Meike Jentjens