So You Want To Be A Music Supervisor...
Over the past several years, music supervision has become a very sexy career. There is more content than ever and for the most part it’s better than it ever has been, particularly in television. And many of these great television shows also feature great music. Watch shows like Fargo, Legion, Russian Doll, Ramy, Euphoria and you will see songs deployed in a range of innovative ways - unexpected, stylized, subversive, emotional, inspiring, illuminating - each tactic essential to the storytelling. Soundtrack reviews and interviews with music supervisors are regularly found in major publications, Spotify playlists abound, the Guild of Music Supervisors Awards have been held for 10 years, and music supervisors can even win Emmys!
This of course means many things for the craft, but one of them is (unsurprisingly) a surge in people of all ages being interested in a job as a music supervisor. From college kids to those in their thirties and forties seeking to change careers, I receive a handful of messages every month asking to “pick my brain” on the topic.
I feel incredibly privileged to get to do this job and, especially in the current moment, have been coming to terms with the fact that I need to do a better job of paying it forward. With it being a bit slower due to COVID, I wanted to take the opportunity to share some common advice on ways to become a music supervisor and a few of the steps on my own journey.
A few things before you begin down this road, particularly in a freelance music supervisor role versus one “in house” at a film studio, production company, ad agency and so forth.
You should know the job is much more than making playlists for scenes. Read up on the role of a “Music Supervisor” here.
Music supervision is not one of the most profitable careers in Hollywood. We are paid significantly less than writers, producers, editors, composers....I could keep going. At the time of writing this, fees aren’t going up, even for those who are well-established. Fortunately that is one thing the Guild of Music Supervisors is working to change. Still, if you enter this field looking for an early retirement you may be disappointed.
Music supervision is a long game. It takes a long time to learn how to do it really well, and it takes even longer to grow your reputation and build contacts to the point where you are regularly working. Patience and humility are critical.
There is no one path to success. Almost all of my peers have completely different stories. The common denominator is an unrelenting passion for the gig.
Now onward to the practical advice.
Be prepared to move to Los Angeles.
While the current pandemic is certainly causing a shift in how our business is carried out, for the moment this remains true. Indeed, there are music supervisors in other cities such as Chicago (advertising) or New York City (film and advertising) but the vast majority of us are in Los Angeles. If you want to work in film and television, the jobs are unequivocally here. And it’s extremely difficult to get a job if you don’t live here. Thirteen years ago when I packed up my car and drove across the country without an apartment or a job lined up my parents thought I was insane. Now having been on the other side of the hiring process, I can safely say the chances of me being offered a job would have been very slim if the potential employer thought I was living in Connecticut or Chicago. Why? Because there would always be a line of people equally qualified who could start in Los Angeles the next day. Most employers will not wait the time it takes to move or pay to relocate a new assistant.
If you are determined to apply for jobs before moving try to get a Los Angeles phone number and address (a friend? a relative?) and be prepared to jump on a plane at a moment’s notice.
Be prepared to start at the bottom.
The most common route to becoming a music supervisor is through support roles, either for an independent music supervisor, music supervision company, or music executive at a studio. For independent music supervisors, the title is often “Music Coordinator” or similar. This is what I did, and many times over. I spent about eight years working under different music supervisors, fulfilling a huge range of duties from menial (picking up lunches, making reservations, creating travel itineraries, managing calendars and even occasionally sweeping floors) to educational and gratifying (song research and clearances, handling music breakdowns, cue sheets and creative searches) before I got a break and was able to take lead on the majority of my television projects. I garnered music supervision credits along the way (more on that later), but it took a long time and a lot of decidedly unglamorous work to be able to truly sustain a living as a music supervisor.
Unfortunately it can be surprisingly difficult for someone without any experience in entertainment to get even an entry level job working in music supervision or music licensing. Whether it’s for an independent music supervisor, studio music executive, label, publisher, etc. almost everyone seeking these gigs has a fundamental grasp of the music licensing process, office administrative tasks or both.
So what do you do? There are a few options...
Take a class
If you’re in an undergraduate program, or able to afford continuing education classes, take any you can find on music supervision, music publishing or music licensing. UCLA Extension and Berklee College both have strong music supervision classes and programs available for anyone who can take them (UCLA is based in Los Angeles, Berklee is online). The Guild of Music Supervisors also puts on an annual State of Music in Media conference which, unlike many music conferences, offers panels and sessions that dig deep into various elements of the craft - as well as ancillary careers like music editing, music licensing and composing. It’s a ton of information in one shot, and all relevant to the career of a music supervisor.
There are also a few books out there that will help you with the basics:
All You Need To Know About The Music Business by Donald Passman (10th Edition)
This is the bible! Anyone and everyone starting out in the music industry gets this book. It offers the clearest explanation of all aspects of the music industry, including music licensing.
Music Supervision, 2nd Edition: The Complete Guide to Selecting Music for Movies, TV, Games, & New Media by Ramsay Adams, David Hnatiuk and David Weiss
Several very respected industry leaders were interviewed for this one.
Hey, That's My Music!: Music Supervision, Licensing and Content Acquisition by Brooke Wentz
Brooke Wentz is a respected music licensing expert and music supervisor currently still working.
Thinking In Sync: A Primer on the Mind of a Music Supervisor by Amanda Krieg Thomas
Shameless plug. This is mostly written for those who are pitching music for synchronization (e..g artists), but it will give a good idea of the day to day responsibilities and concerns of a music supervisor. The entire first chapter details the song clearance process. Also it is 50% cheaper than all the rest.
Get an internship, ideally with a music supervisor or music clearance professional.
Internships are invaluable for two reasons. First, while you can definitely gain a solid music licensing vocabulary in class or from books, the craft of music supervision is primarily learned on the job. By interning for a music supervisor, studio music department, or in a sync team at a label or publisher, you’re getting real life experience working alongside professionals in the field. Second, you build relationships with people who can either hire or recommend you for a job down the line. We’ll discuss the importance of relationships in more detail shortly, but nearly all open positions in this niche of the music industry are filled via word of mouth; many are never posted on a single job site. Every single job I’ve gotten has been because I knew someone who told me about the opening and could vouch for me to the person hiring. There are always exceptions, however most entry level positions go to kick ass former interns recommended by colleagues. With that in mind, the more internships you do, the greater the number of people there are who can recommend you for opportunities they hear about. Assuming of course, you were a good intern.
While more and more companies are thankfully coming around to the (critical) concept of paid internships, many do still require school credit. If you are in undergrad and can take advantage of that while you’re still in school, do it! Many local schools like community colleges also offer continuing education internship credits, where for a few hundred bucks you essentially pay to intern somewhere. These are at a lower cost than the UCLA Extension or Berklee programs, and if you have to choose, at the end of the day “on the job” training and personal relationships are much more valuable.
Build relationships.
This is critical for everyone, and especially important if you’re coming into the field from a job outside music supervision. Research music supervisors whose work you admire and utilize your alumni network (if applicable), family and friends, LinkedIn, Facebook, co-workers, etc. to connect with them. If you can have someone run an introduction that is certainly an advantage, but not a requirement. Reach out and let them know why their work or journey resonates with you. The more specific the better. Offer to take them out to a coffee or bring them coffee at their office for an informational interview (when we’re not in quarantine, of course). It’s a classy move that everyone appreciates regardless of the stage of your career you’re in. Fancy dinners or even full meals are not necessary, and there’s even a good chance they won’t actually allow you to take out your wallet.
If you already have that entry level job in film or TV music, reach out to other assistants or coordinators that you work with to get breakfast, drinks, dinners, go to a show, etc. Brilliant! Join The Guild of Music Supervisors. Go to mixers and other networking events when it’s possible again. Even during COVID, I recently caught up with someone I’ve known for years who has made it a mission to do Zoom coffees every morning re-connecting with peers. You never know when the opportunity will arise to collaborate with that person on a creative search or securing a difficult clearance that will make you look like a hero to your team. Or if a relationship will lead to future job opportunities for one or both of you. Perhaps most importantly I have met many of my best friends in such situations. The music licensing community is very tight knit. While that can make it hard to break in, the camaraderie is one of my favorite things about working in the field. I may technically be competing with fellow music supervisors for jobs but everyone is so supportive of each other it never feels that way.
You should also be building relationships with content creators, such as directors, producers, writers, editors, etc. Ultimately to become a music supervisor, these folks need to hire you on projects and give you that credit. By nature of living in Los Angeles it’s likely you have people in your circles who are pursuing these roles. If not, continue to push yourself out of your comfort zone to get out and form new relationships. Seek meetups and other events to attend. Your own alumni association or the Junior Membership of the Hollywood Radio and Television Society (JHRTS) are good places to start getting involved.
Hone your administrative skills, not your ability to make a killer mixtape.
Having interviewed many assistants, coordinators and interns for myself and others throughout the years it is the ones who emphasize their administrative skills that stand out the most.
“I love Excel spreadsheets!”
“Typos drive me crazy,”
“I triple-check everything,”
“I’m always looking for ways to improve productivity and organizational systems!”
These phrases and others like it are music to a potential employer’s ears. In fact we internally groan when applicants point to their ability to make a playlist as their number one job qualification. Yes, creative ability will be important down the line, but getting your foot in the door requires a support role and the support most are looking for is administrative. Answering phones, updating spreadsheets, copious amounts of research on songs, writers, publishers and so forth, completing, tracking and organizing a constant stream of paperwork and more. The great part about this is that you can obtain these skills from many places. For me, it was my time as a Stage Manager for theater in college that has proven invaluable as a Music Supervisor - organization and communication skills especially.
We understand that some sort of passion for music, film and/or television is most likely what peaked your interest in the profession. If you are interviewing for an assistant role however, stress your meticulous attention to detail rather how much your friends love your taste in music. And if you want to be a music supervisor, make sure you really do love Excel spreadsheets.
Get any job in entertainment you can find, if not working for a music supervisor, then ideally in an office environment or administrative capacity.
Jobs working directly for music supervisors can take a while to come along and waiting isn’t always possible. Stay open to other opportunities, whether that’s at a record label, music publisher (preferably in their sync departments), third-party pitching company or with sync agents. It’s also worth considering options in the broader entertainment industry, for example, the “agency route.” Pursue an entry level job at a talent agency: Creative Artists Agency (CAA), William Morris Endeavor (WME), United Talent Agency (UTA), Gersh, Paradigm, etc. with the first three being the largest. Agencies are great places for getting a broad, boot camp-style education on the entertainment industry as a whole and obtaining essential administrative skills (e.g. answering phones, scheduling meetings, email etiquette, etc.) that every music supervisor looks for in an assistant or coordinator. Most agencies have a department that focuses on film and television music, with agents representing composers and music supervisors. Aim to work for one of those agents, or use your role at the agency to score an informational interview with them.
Colleagues have also found success via entry level roles in production or post production. Look for a position (sometimes called a “PA”) assisting a showrunner, executive producer, staff writer or post producer that gets you in the office and closely interacting with members of the team. Learn everything you can about the process and the people - the latter especially will come in handy even when (or if) you make the career switch to music supervision. While you never want to neglect the job you were hired to do, pay extra attention when music is discussed. If you get a job working with a showrunner or director you’ll likely find yourself on an email chain with a music supervisor (or two) and if the opportunity arises politely inquire if they might be open to a coffee or an informational phone call.
Regardless of where you begin, it is essential to educate yourself on the players. Know the major film studios, television studios, production companies, labels, publishers, agencies, etc. Do everything you can to be well-versed in what the job of a music supervisor entails, as well as a basic understanding of the jobs of those a music supervisor interacts with on a regular basis. What does an editor do? A music editor? Showrunner or producer? Composer? Look out for patterns. Does that Music Supervisor you love work on every project a certain director or showrunner does? Do they always work on certain types of projects? IMDb is a great starting point to start getting familiar with the different roles and the people doing them.
Start building “Music Supervisor” credits.
Once you have a grasp of the job from start to finish (e.g. song clearance process, licensing, cue sheets, etc.) do what you can to start building credits. The more you have - and the bigger they are - the more momentum you’ll start to build.
If you’re employed by a music supervisor hopefully they will start offering “Co-Music Supervisor” credits and opportunities when you’ve reached a level where they feel comfortable with your knowledge, and on projects that are open to it. It’s a tricky dance, as neither they nor you want a producer to feel like they’ve been “tricked into” working with someone more junior and less proven. This could take anywhere from one to several years though (usually a minimum three for someone starting from square one).
Respectively, the best advice I can give is to try to take on indie projects however and whenever you can, even if it means late nights and early mornings working on these around your day job. Reach out to local universities and offer your services to student films. Email any friends who might be making movies. Post on message boards (are those a thing?) Tweet. Put yourself out there through whatever means you can. There is a good chance you’ll first be approached by low budget, independent projects for friends, or friends of friends, fellow assistants, etc. They will not be big paydays...and that is okay. At this stage in your career it’s equally important to start getting those “Music Supervisor” credits, to build relationships with those who can potentially hire you again, and to get experience actually doing the job. The more you do it, the better you will be. And while a director’s first film may have no budget, hopefully the next one does and they’ll call you. For this reason every project should be treated as though it was a blockbuster. Do your due diligence to make sure everything is done right - and not just the creative. The filmmakers are relying on you to ensure their baby is protected and no rogue writers or uncleared songs will come back to bite them down the line. Even many student short films are finding lives on YouTube or Vimeo these days, so it’s critical you know at least the basics of song clearance and licensing. When I started doing independent films on the side while I was at Lionsgate I had (very kind) colleagues look over every quote request and license for me. That practice was invaluable, so if you can find at least one mentor to provide a second (or first) opinion on any tricky legal questions, I’d advise it. Eventually the director you did three micro-budget films for gets hired by Fox Searchlight. Your friend you’ve known for six years gets a job as Post Supervisor on a new television series and can bring you along. And your career flourishes along with them.
In parting...Whatever your journey is, here are a few guiding principles that still help me every day.
Be a pleasure to work with.
Be persistent.
“Yes, and” any task you’re given no matter how small, without of course crossing any personal or professional boundaries.
Lateral or backwards moves can sometimes be forward moves in disguise. Don’t automatically discount them.
Try to find ways to make the jobs of the people around you easier.
Assuming makes an ass of you and me (in other words, ask questions about what you don’t know! But still…)
Be resourceful. Try to find the answer on your own before asking the question.
Never think you’re done learning.
Be clear, out loud, about what you want.
And again, be patient.