This post is for those who are out there looking for work and are not having any luck.  It’s simply my point of view so take from it what you will.  A lot of this advice is, what I consider to be, simple, common sense.  However, seeing the same things over and over again maybe it’s not as common as I may think.  Here’s a rundown of a few things that consistently come up.  You can make your own determination about them to see how you might react if you were at the other side of the desk.

The Approach:

There is a reason that in high school writing classes we are taught to correspond formally.  Typically a letter will have the recipients name and address, a date, the senders name and address and a salutation such as Dear X,  -

Email and texting has completely changed the way many people communicate with one another.  Nothing wrong in and of itself of course, but it has carried over into the workplace. Causal notes or emails will not get much traction.  Here is an example -

“hey – cool studio. looking for some work.  I do it all. resume attached.  later”

Or:

“Qualified engineer.  Loads of experience.  The real deal.  Call today.”

Or:

“Just graduated with a degree in sound.  Foley, ADR, sound design specialist.  Give me a shout.”

Or:

“See attached resume.”

Something that any potential employee must understand is that every communication from phone calls to query letters to resumes must inspire confidence that you are going to be a great asset to the team.  What a potential employer sees in your dealings with them is what they will project as to your dealings with their clients.

The Interview:

It must be the allure of the uber-cool entertainment business that implies casualness.  We see it portrayed that way in the media, stars walking around in ripped jeans and tee shirts, crews with backwards ball caps and shorts.  But they are already in it.  They are not applying for work.

I’ve conducted many interviews over the years with unshaven, unwashed, ungroomed potential employees who can’t figure out why they weren’t hired.  Typically I will ask them at the end of the interview if they dressed and acted like this for their last “fill in the blank – Starbucks, Macy’s, Sizzler, Van’s Shoes” job.  They get an odd look on their face and it seems for that split second that they may have had a revelation.

Here’s the thing from this side of the mixing desk – I own this company.  I work hard for this company.  I work hard to get my clients.  I work hard to keep my clients.  I want to continue to be busy and successful.  People don’t come to me to mix their shows because I have Pro Tools.  People come to me because I do good work, have a great staff and I am extremely service oriented.  This is what makes us stand out.  Show me that you understand not only Pro Tools and post but that you also understand clients and service and you may just get a second interview.

Treat the interview with the same respect you would any other job.  Dress well, look good, and make a strong impression.  Be professional, be courteous and most of all be honest about your experience and your goals.  If you are new to the work but show aptitude and the right attitude you may have a leg up on someone who is more experienced but is lackadaisical in their appearance and their demeanor.

The resume:

OK, here’s a pet peeve of mine; a resume filled with skills but no actual experience.  I see countless resumes that indicate – Foley artist, ADR recordist, sound designer, dialog editor – any and all of the above and yet no actual experience.  Maybe a short film or a couple of school projects but no real work experience.  The lack of experience is not the issue, the idea that you are representing yourself as a Foley artist or a dialog editor after one three minute short is the problem.

I receive dozens of resumes a month.  Many are from seasoned professionals who work freelance and are looking for a new post house to get on a roster.  Many are from students and new engineers.  The differences in resumes are striking.  Not just from the credits of course but in the attitude and in the approach.

Typically experienced engineers list their skill sets and the relevant work.  New engineers, new grads will typically “fill” their skill sets with every sub-genre of work they’ve taken a class in.

Now I can only speak for myself on this, of course but I would prefer to see the real work of a beginner.  If I see that you worked summers at a restaurant, or a local business and I see some consistency in that work I will draw some conclusions about you.  That says more to me than a class that was taken in Foley.  Since I work with world-class Foley artists with major Hollywood features and I get resumes from the same individuals seeking employment it just rubs me a bit the wrong way when I see recent grad also telling me that they are a “Foley artist.”

The resume is not only a reflection of your work experience; remember it is also your introduction to a guy like me.  If it’s filled with hyperbole, I may just draw ideas about you from that.  It will color my impression of you.  If you are just beginning I am smart enough to know that your resume won’t have pages of work experience and you won’t be judged by those standards.  However, whatever impression the resume gives me is the first window I have into you.

By the way, I am not saying to leave school projects off the page.  It is legitimate and shows me what you’ve done.  It’s just that often these are made to look like work that it is not.  Be honest, straight-forward, put the real deal out there and you will get your shot.  Trust me I get credit lists from highly experienced crew whose resumes are filled with shows I’ve never heard of.  That’s the sad fact about the work we do, there are many shows that live in obscurity and don’t have the recognition factor you’d expect from someone with years of experience.

The wind-up:

So what is one to do?  Here’s the post in a nutshell: take the interview seriously, dress well, look good, act confident and be truthful.  Show the employer that you are there to work, work hard and do what it takes to move your career forward.

Don’t pad or inflate the resume.  Put all of the relevant experience there and if you worked as a restaurant manager for three summers in college – write it down!  It will show that you are responsible, trustworthy and motivated.  By the way some schools have resume templates.  The only reason I know this is because I get resumes that all look alike and have the exact same information on them.  Only the names are changed.  This again is not a great indication of why you are better than the other guy or gal.  Make your resume your own, you are not your classmates.

This one I hate but I have to say it – be persistent and follow up.  Ask if it is alright to stay in touch, send resumes every six months or if the employer may have advice in getting ahead.  You’d be surprised how much that can help.  Here’s a crazy example of what happened to my summer interns – I met with a number of potential interns.  I chose one who said they were leaving town and would contact me when they returned.  After a couple of weird and incomplete emails and unanswered calls they never did arrive for the internship.  I lost three weeks waiting for that person after having turned down other qualified candidates.  I then met with more interns to replace that one and again chose, what I felt was the best one.  I called to tell them that they got the internship but never returned my call!  I did not and would not call repeatedly to have them come in.  I feel that if I needed to draw them in to a job they were being offered then there internship could also be problematic.

By the way, it may not seem like it now but I can tell you – Hollywood is a small town.  The person you blow-off or disregard today can be the same person with the choice gig you crave only a couple of years later.  Be polite and don’t burn bridges if at all possible.  Your future career can really depend on it.

Keep your head down, be respectful, don’t have all the answers, have all the questions.  Be willing to come in early and work late.  Show initiative if you get the job, work hard and learn.

Good luck out there!

This is a typical email from many loyal readers inquiring about where I’ve been since my final posting last year.  It has been a while but I have been very busy and there have been a lot of great things happening.   Now that some time has freed up I’ll get back to some serious postings.  I have a number of great things planned – more interviews, reviews and post audio articles.

blog [at] WoodysSoundAdvice.com

Even though I am pleased to receive all of the private emails from readers I’d like to encourage everyone to post comments and questions directly on the posts.  It generates more interest when the conversations are out there for anyone else to chime in on.  I would like to see more dialog open up on the site like that.  We can all learn more from each other.

AUDIO BOOK OUT THIS SUMMER

One of the main things that has taken an enormous amount of my time is a book that I’ve written for JB Learning. It is, of course, audio specific and it is called “Audio Production and Post Production.” It will be published and released in August.  It has been a “long, hard slog.” But with some determination, a mighty heaping of will power and a lot of help – thank you Wendy, Roxanna and Iryna! – I was able to make it happen.  The cover is posted below and the book layout ties in nicely with the cover design.  I think it looks pretty good!

More information regarding the book can be found here at this link.  If you use the code “WOODHALL” you will get 35% off the cover price!  Buy 2!!!

I thought it was tough writing the occasional article for this blog.  Never wrote a book before but I think that it is a good one.  It is intended as a textbook primarily for college level classes.  But it is written as a practical text for anyone more interested in learning about audio for film and television.  Their site has the table of contents and more detailed information regarding the text.

I will also be offering seminars and classes specific to the book this summer in Los Angeles.  I will update dates and times here.

AUDIO POST SEMINARS

I regularly conduct audio post seminars and classes here in Los Angeles.   I have done a number of these already this year.  Earlier in the year I did an audio seminar for the Producers Guild of America. We had a terrific turn-out and several folks joined my post specific group - The Los Angeles Post Production Group.

At the end of April I did a presentation at the Recording Institute at the Musicians Institute in Hollywood where I discussed what I call “Real World Audio Post.”  This is a specific talk geared towards audio students embarking on the start of their audio careers.  How to be patient, results oriented and positive as you create your career.  And beyond “audio post” itself – I talk about the importance of looking good, acting humble and being willing to watch and learn.

Woody and Monica Mancillas at MI

 

I was also part of a panel for the ShowBiz Expo at the Los Angeles Convention Center called “The Sound of Success.”   Panel participants will included:

- Glenn Berkovitz, CAS (Moderator) – Local 695 Production Sound Mixer (Weeds)
– Keira Morrisette – Associate Producer (White Collar)
– Phillip Palmer, CAS – Local 695 Production Sound Mixer (Glee)
– Jay Patterson, CAS – Local 695 Production Sound Mixer (Without a Trace)
– Woody Woodhall, CAS IMDB

Laurence Abrams not only set-up the panel but also created a video for members of the Hollywood Local 695, which is up on their website.  There is a link here.

The Sound of Success

If your organization would be interested in my presentation of an audio post seminar feel free to contact me.

PRIVATE CHEFS OF BEVERLY HILLS

I just finished up mixing six episodes of a new reality series for Food Network called “The Private Chefs of Beverly Hills.”  It is a challenging show, with multiple wireless isolated microphones and the issues of quick cutting in a kitchen environment.  It is a very entertaining show and the producers are extremely experienced and it is a pleasure to work with seasoned professionals.  I’ve got a few other things coming up as well and they will be detailed as they arise.

PRIVATE CHEFS OF BEVERLY HILLS

If you get a chance to see the show it is airing on the weekends on Food Network, with each show’s premiere on Friday nights at 10PM.

Jeff Toyne is a composer whose oeuvre includes feature films, many shorts — including two nominated for Academy Awards, composer for “The Two Coreys” on A&E and is renowned for his extensive orchestrations for Hollywood features such as District 9 and Sky Captain and the World of Tomorrow.  He splits his time between Vancouver and the States; back in December of 2008, we met up at his Los Angeles studio to discuss his career and insights into composing music for the moving image.

WOODY: How did you get started in music?

JEFF: I was thinking about music as a career in high school.  What solidified it for me was the summer I spent at Interlochen in Michigan, which is a wonderful music and arts camp.  At school, I did well in most subjects, but music really challenged me.  I wasn’t a prodigy by any stretch of the imagination, but I played the piano well, so I went to university with piano as my instrument.  I started on a music education track, which allowed me to learn the basics of many orchestral instruments, but my secret desire was to switch over to piano performance.  I had a wonderful piano teacher who was actually one of the only students that Horowitz ever admitted to teaching, and he was a great pianist and a really great guy.  Previous teachers had allowed me to develop some bad technical habits that I was always able to overcome, but the only way for me to get to the top level of repertoire would be to stop everything, go back to basics and rebuild my technique from the ground up.  That would take a year or two, but I needed to perform a recital at the end of every semester.  There was just no way to go all the way back again unless I took a year or two off.  So performing fell away as a possibility for me, and at the same time I took more advanced theory and composition courses, for which I showed aptitude.  I became more interested writing music, so I did a Masters in Composition.

WOODY: What were some of the first compositions you worked on?

JEFF: Growing up taking piano lessons, I’d improvise something and my teacher would say “you should write that down.”  One of my first experiences writing was in high school.  I put together an R&B band that had a horn section, but the players didn’t play by ear, so I transcribed and arranged the horn charts for them.  In retrospect, that was a really good exercise to fuel my interest in composing. The last year of my undergrad I did my first film score, which was a feature that I recorded with a 13-piece big band and an eight-piece chamber ensemble.  I had no sequencing software; I wrote it in Finale.  And that’s how I was synching to picture; I was playing back in Finale and pressing play on my VCR.  When I came to USC I was so ready for that course because I had actually scored a film, not knowing how to do it.  So I had all the questions.

WOODY: What made you decide to go into film composing instead of focusing on other types of work?

JEFF: By the time I was in my third or fourth year of undergrad, I saw the music that I wrote and the kinds of composition that I was interested in, had a place in film.  I was interested in aleatoric composition, pandiatonic stuff…  The serial stuff wasn’t really where I wanted to go; even the new tonality was interesting to me, minimalism as well, and all these things had places in film.  I’m not just a “classical music” guy, I had experience in Jazz, Blues and Rock as well.  I struggle now as a film composer to find a hole that people can niche me into, but I came to film because of eclecticism.  I imagined that I could actually make a living – get paid to write music and have orchestras record this music.  This seemed like the way to go.

WOODY: That sounds like a good way to come about a career where you get paid for it, and you work with world-class musicians and sync it to the film, and it becomes an emotional experience for people and their understanding of your music.

JEFF: I really believe that Wagner’s idea of gesamtkunstwerk is alive in film today.  I think films represent his idea of total artworks.  They bring together artists from every field to completely envelop an audience in every sense and involve them in the story.  If I have a score that’s attached to a film, that’s the way to reach the most people.  The Beatles or Madonna may reach more people, but I think a couple of people saw Star Wars!  So I’m really happy to be involved.  One of the reasons that I think directors like to work with well-known performing artists, is because of the idea that you’re bringing in people who are experts from other fields.  If you come in and you’ve already sold a couple of million records, then maybe we should listen to your idea before we tell you how it’s going to be.  They have something they can offer, something they can bring to the film.

WOODY: So you’ve worked with Ed Shearmur on a couple of things.  Tell me a little bit about the collaboration between the two of you and what you did for him and also the value that you’ve taken out of it as a composer.

JEFF: I started working for Ed straight out of school as an assistant.  I was really lucky to be recommended to him.  I’d just graduated USC, and he was looking for a new assistant.  I think they recommended three or four people based on the software he was using and the kind of things he was looking for. So I started off getting tea and making sure lunch happened at 1 o’clock and making sure the couch didn’t go anywhere.  He was really linear about the responsibility that he doled out, but it began very much in the technical arena.  Some of my first tasks were sorting out word clock issues and making sure samples were organized and loaded.  After assisting him for a month or two, my first musical job was cutting together piano takes for K-PAX.  He was really searching for the right piano sound for K-PAX.  Giga piano was new at that time, so he had a pass done with that, and he went to Capital Records and he recorded on Nat King Cole’s piano.  He recorded a Disklavier and he wasn’t completely happy with any one of them.  He wanted to be able to A, B, C any pass at any one time, so he had me go in and slice those performances to match each other.  So that was my first slightly musical job. Then at some point, I think on The Sweetest Thing, I did some music copying.  After a year or so I got a chance to orchestrate a couple of cues on Reign of Fire, which was a big opportunity, and then I started doing more orchestrations for films after that.  I worked for him for about three years full time.

WOODY: What were you able to take from that, now yourself as a composer, having worked with someone like that?

JEFF: One of my USC instructors said that if you’re an assistant, you can see how a composer does his job; how he interacts with the director, producers, engineers, musicians; and you’re right next to the heat, but it’s not your heat.  That’s a really great place to be.  You’re a fly on the wall.  You’re assisting someone who’s working at the highest level for A-list Hollywood films and you can see how they’re doing it and you’re involved.  You’ll inevitably make some mistakes as you’re learning.  But that’s his career that you’re making your mistakes and learning on.  So that’s a really valuable chance to be given – to cut your chops on somebody else’s dime, in a way.  I’m really grateful for that experience.  Ed is an uncannily gifted musician and film composer.  He’s just a force to be reckoned with.  Here’s a guy who has amazing classical chops, concert pianist skills and rock ‘n’ roll credentials to boot.  He brings those two together.  And he’s one of those people that will never ask you to do anything that he couldn’t do himself.  It was quite intimidating to work for someone so talented.  In addition to the musical component, he was adept at understanding the drama and getting inside the structure of the movie and the interaction of the characters.  His ability to get to the heart of what the filmmakers were trying to do dramatically and how the music may affect them — that was really impressive.  It’s one thing to write a beautiful piece of music, but it’s another thing to have that beautiful piece of music be the right tone and start at the right time and be the right emotional variant that makes sense dramatically.  He was very good at that.

WOODY: Tell us about the process of composing a film.  When do you get involved, and how do you start the process with the director?

JEFF: I like to be involved as early as possible, even to the point where I’m reading the script and having conversations with the director before they shoot to discuss themes and what the sonic landscape might be like.  And having that kind of time takes away some of the pressure, especially on a lower budget movie.  As a filmmaker, you can give a composer all of this time in lieu of the fact that you can’t pay them very much, but you still want it to be really good.  I’ve found that if I’m able to be brought in really early it’s nice to have that in the back of your mind somewhere just fermenting and having conversations, thinking about how it might go and maybe even putting down some material that the director can have on set or they can at least be thinking about.  So, I’d like to be brought in as early as possible, but generally the real work starts to happen once they have a cut to look at.  One of the main goalposts in the production schedule is the spotting session, when the filmmakers have an edit and they’re ready to start thinking seriously about the sound.  So they come in, and we watch the film.  Spotting always takes longer than we think it’s going to take, at least eight hours for a feature, sometimes more.  We talk in detail about where each piece of music is going to start and, if there is a temp score, where it is starting and where it should start and what it does and what it’s supposed to do.  These discussions can really become quite protracted and abstract.  It’s an important step of the process.

WOODY: How do you approach the work when a director comes to you with a temp score?

JEFF: I don’t have a problem with temporary score.  I think a temp score is a good way to have both of us point at something and talk about it objectively.  Composers will generally say that they want directors to talk not in musical terms, but in dramatic terms.  They want them to talk about character and emotion and mood and feeling; how they want the audience to react; as opposed to, “Oh, I think this should be an oboe or cello.”  What a temp score can do is it can allow you both to say, “Okay that music there, I don’t know what it is, but it works with this scene at this moment for some reason.”  Or, “Here I don’t like it, there’s something that is not right.”  And at least it allows you to very quickly say, “Yeah, this is a great place for music to come in, this is a great place for music to come out and this mood is kind of what I was going for.”  So in that regard a temp score is a useful tool.  And we can’t deny that they are absolutely necessary when the directors need to show their film to other people and get finishing funds or to submit to festivals or get distribution.  They need to show the film in the best light they possibly can.  There’s going to be a temp score in there whether you as a composer listen to it or not.  Where the problem generally comes in is when they’ve spent a lot of time with the temp score and are having a really hard time getting away from the temp score or are not really interested in trying a new approach.

WOODY: How do you combat that when a director is really attached to a piece in their temp score and they feel that you the composer are not getting what they want?

JEFF: You have to pick your battles.  Depending on the situation, as a last ditch effort, if it seems there’s nothing else that you can possibly do, you can suggest they try to license the piece.  “If I’m not going to replace this, you should really license this.”  The last film I did, I went around a couple of times with the director who was having trouble getting away from the temp.  He had a song at the end of the film that when we first started I could tell he loved, and they were supposed to be able to license it.  So I said, “You know what, if you’re going to license this song, I will take the melodic motive from this song and I will weave this into the rest of the film.”  Music can offer this to a film: unity and diversity.  So we’ll have this little motive that will tie everything together and after we’ve heard these little fragments, then at the end of the film we’ll hear the full song and it’ll feel familiar and satisfying and everything will be great.  And so we did this and a week before they were going to mix the film they said, “You know what, it turns out that we can’t really get this song unless we pay another “x” dollars, can you replace the song?”  And I thought, “Can I replace this song that you’ve been living with in an edit for two years, that you’ve had in your record collection for five years before that, and when you were writing the film were probably listening to this song?  Can I replace this?  Of course I can, no problem.”  I did kind of drag my heels for a few days, saying, “Are you sure,” giving them time to flip-flop back.  Finally he said, “We’re really sure,” so I finally did it and I spent another two or three days on it.  And I thought I had come up with something.  Then a couple days later they said, “you know what, we decided to pay the extra money and get the song.”  So that’s a situation where I can’t say that I won or lost.  The film got made, the filmmaker got what he wanted and the lesson there is that people will always find the time and money to do what they really want to do.  Sometimes the way a song is of its time suggests not only the meanings of the song, but also the meaning of the situation that the filmmaker was in when he first heard it and the things that were going on in the world.  But at the end of the day, I keep in mind that we’re all working towards having a good film that affects audiences.  I basically have a can-do attitude about it.  I’m not super precious about the music.  There’s a push and pull between the needs of the film and our need for artistic integrity.

WOODY: I go through that all the time as a sound designer and mixer because the choices made ultimately are not mine.

JEFF: Exactly.  But that being said, nine times out of ten the filmmakers have really good reasons for the choices that they make.

WOODY: Absolutely.

JEFF: Their ability to see the film from beginning to end in one vista is amazing.  I definitely get myopic sometimes.  In the same way that they have to trust me to deliver their score on time and on budget and do a good job and get what their story’s about, I have to trust them that they’ve been living with this a whole lot longer than I have.

WOODY: Do you set the cue points, the director or both?

JEFF: The last couple of films that I’ve done there’s been a temp score.  Either an editor (ideally a music editor, but usually the picture editor) or the director have already kind of gone through a couple of times, at least for themselves, to see where music might go.  Often, as in Shadow in the Trees, we may come to a couple of points in the film where there isn’t temp music and I think we might try having a cue.  I generally leave it with, “Let me try something and if I think it’s working I’ll show it to you, and if I don’t think it’s working I won’t.”  That gives me options. We have these kinds of conversations about whether or not we think this should be here or there, and if so, why.  And then we’re into it, we’re starting to do show and tells, (what we call the meetings after the spotting session), where usually a director is coming over to my studio, or I am occasionally sending QuickTime movies over the internet or sometimes mp3’s for them to slide into their timeline.

WOODY: And these are sort of sketches or demos even though it may be an orchestrated piece?

JEFF: Nowadays, demos are expected to be pretty detailed.  If it’s a director that I have worked with before, and we both have confidence in their ability to extrapolate from a sketch, then I don’t need to spend as much time on the demos, and can spend more of my time writing.  If they’re really nervous about how it’s going to go, then I’ll make the demo more fleshed out and more “convincing.”

WOODY: What kind of timeframe are we talking about from your spotting session to really having fleshed out cues?

JEFF: Well, a composer is supposed to be able to crank out anywhere from 3-5 minutes a day.  That’s really smokin’.  The big boys do that.  They’ll do fully realized, big orchestral demos like that, 3 minutes a day for sure.  So if you’ve got a schedule where you’re scoring a film and you have six weeks to do it, and there’s 60 minutes of music in the film…it starts to just play out.  You need to be showing the director every couple of days a certain amount of music so that they’ve seen everything and you have time for notes, changes, music prep, recording, mixing and everything like that.  I heard that Danny Elfman usually has two parties when he gets a job.  One’s a going away party, and one’s a welcome back party when he’s done.

WOODY: Let’s talk more about the process for you.  Do you find that you are generally the composer, the performer, the recordist and the mixer?  How do you break that out?

JEFF: Yes, but at every opportunity I will hand off a job to an expert. I’m delighted to have a mixing engineer at least mix my music.  Sometimes it’s just a matter of time, there isn’t enough time to get files over to somebody and back or to have somebody come in.  In terms of performing, to be honest with you, I would really rather have somebody else play.  The piano part I can go in and tweak the midi, but we have a beautiful grand piano out there (in the tracking room of my studio).  I’d rather bring in a pianist with great touch. I remember one time I had a violinist come in and she was trying to play along with the demo and for some reason it just wasn’t happening.  After a couple of takes, I asked her to play with a little more vibrato and a little more portamento.  And she said, “Oh, I was trying to get it to sound exactly like the demo.”  I said, “No, no, I want you to play like a human being.  The reason I brought you in is because the demo sounds like that.  I don’t want it to sound like that!”  When somebody’s interpreting your music, there’s another level of musicality going on there.  I tend to write for instruments in a way that they’ll sound the best.  And I really try to avoid situations where I am trying to do something with samples.  If I know I’m going to be doing a synth score, then it won’t be an orchestral sound.  And if I’m using orchestra stuff, then I’ll try and write in a way that’s idiomatic for the instruments. I really do believe that this is a collaborative art form, and I’m happy to not be here by myself all day.  I’m delighted to have someone come in and music edit, someone come in and do the copying and bring in any performers I possibly can.  But the best experience is to record with an orchestra. That’s the juice for the composers.

WOODY: Have you been thrown for a loop on shows?

JEFF: This is where the spotting session comes in and you kind of have to know your audience, as small as it is.  I’ve worked with Steve McLaughlin and one of his big successes was with Badly Drawn Boy for the score for About a Boy.  He said that a film composer only has an audience of one.  You only have to convince a director that your music is good, sometimes with a producer or a little committee.  But even at best you’re convincing 15 guys or girls that this is good music as opposed to someone who goes out and tours their album and convinces a hundred thousand people that their music is good.

WOODY: Have you found yourself in a situation where you’ve had a spotting session and you thought you were on the same page and you’re presenting cues, yet they’re scratching their head going that’s not really right?  Or has the temp score sort of solved that and you understand what they want?

JEFF: I’ve definitely been in situations where I’ve just missed the mark and there are different reasons that happened.  As a student there was one film that was supposed to have authentic Japanese kabuki theater music. Under time pressure I just fired up the sampler and put anything remotely Asian on there.  The director came back and said, “No that’s Chinese, and that’s a Thai gong, and that’s Korean, that is Japanese, but it’s not kabuki and I really need this to be authentic kabuki theater music.”  So that was a huge miss and a failure to listen carefully to what the director had already said. Film music can occasionally give a composer the opportunity to dive into unfamiliar territory, and explore exotic instruments and musical styles. This is an opportunity and a risk. It helps to be a quick study, but more importantly to hear what your director is telling you.

WOODY: When you’re creating a score what sort of problems arise?

JEFF: There’s occasionally a conversation that kind of goes around when the demos and samples don’t really show the score very well, but you know it will sound great when played by live players.  There’s only so much of that that a director, especially one without a lot of experience, can really take.  So sometimes I have to go back and spend more time that I really wish I didn’t have to spend polishing a demo that’s going to have many elements replaced by recorded live players.  On indie films, it’s a soul-crushing conversation to have to say we don’t have the time to spend this level of detail on every single cue because we’ll just run out of the amount of time and money that is available for this movie. So what happens is directors often on indie films have to wear producer’s hats, and I often have to wear my agent’s hat.  They’re trying to get the best for their film, and I have to somehow be gently realistic saying, “You need to understand that I really want your film to be great, and I want to do a good job for your film, but we don’t have unlimited time and money.”  Unfortunately, especially when they’re doing it for the first time, they’re doing everything at a low-budget level so they don’t really know, necessarily, what things actually cost.  Composers like to be problem solvers.  We like to find creative ways to solve problems and our number one problem is often they don’t have enough time or enough money.

WOODY: Do you have any kind of theory for composing or do you have a way of working in terms of the creation of the music?  Or is it just really inspired by the picture and the story?

JEFF: Every project is different.  I tend to try and find something that I can use as a starting point and often it might be an instrument that makes sense as a voice that relates somehow to the characters in the story.  I’m usually driven by points in the story that we can take and extrapolate out into musical references. Usually films are thematic and they generally fall into either one theme for the whole movie or themes for individual characters and/or ideas.  When they have themes for individual characters and ideas, they start to resemble more classical opera forms.  Most of the films I find myself working on as the orchestrator or the composer, you say, “Oh this guy is on the screen and he’s doing this and there’s his theme.”  It’s a pretty accepted practice.  In film, melody is king and we’re generally writing melodies that have significance that we can attach to dramatic ideas.

WOODY: How do you go about getting work?

JEFF: When I was just starting out as a student at USC, I went down to the film school to put a poster up that said “Composer Available,” next to the poster that said “Composer Wanted.”  I did a lot of student films.  My main kind of networking has been just to stay in touch with the directors that I met when they were students.  I also get a lot of work from friends of mine that are composers.  A lot of work.  My first student film in LA was from a friend that couldn’t do it.  And he said, “Why don’t you get my buddy to do it, he can do a good job.”  My first television show was from a friend who was a composer who couldn’t do that show because they needed specifically a Canadian composer, and he only knew one Canadian composer, so he said, “You should call Jeff, he’s Canadian.”  It’s funny, I remember reading a marketing how-to and it said make to sure that people know what it is that you want to do.  So, just tell your friends and family, “This is what I want to do,” you never know who they’re going to run into that is looking for something like that.

WOODY: On a different note, tell us about your composition “No Fanfare” for the 2010 Winter Olympics.

JEFF: “No Fanfare” was a commission from the Vancouver Symphony.  When Vancouver was successful for the 2010 Winter Olympics bid, the Symphony decided to commission young composers to write short, 3-minute works on Olympic inspired themes.  They specifically said not to write fanfares because there are already so many great ones out there.  And so, the title of my piece is “No Fanfare”.  I thought if I said it’s not a fanfare, if it sounds a little fanfare-like then you can’t blame me, it says right in the title it’s not a fanfare.  But it also made sense with what I was interested in exploring musically.  I was interested in exploring musically some of the emotional landscape of the athletes that compete and don’t really do well by gold, silver and bronze standards.  If you compete and you place 76th, yes you’re proud that you went to the Olympics, but I wondered what that was like. I wanted to have a piece that was exciting for the audience, so I imagined a race where there were people racing at the same time, not against the clock.  If you start the race and freeze-frame somewhere in the middle, then consider all the possibilities that expand forth in separate timelines, nobody has won and nobody has lost yet and everything is still possible.  At that moment everyone is a potential winner and everyone is a potential loser and that’s the most exciting part of the race, when it’s actually happening.  Musically this had nice tie-ins to the Winter Olympics because you’re thinking of freezing things, flash-freezing a moment, and you have reflections in ice and things like this, so that’s kind of how I got into it musically.

WOODY: And that was played when exactly?

JEFF: The Vancouver Symphony performed it a couple of times in 2005, and now they have it in their repertoire.  I haven’t really spent a lot of energy pushing it further into the classical concert world, but that was a very blank page: writing a piece of concert music after being in film for a couple of years.  I have been exploring that side of music further.

WOODY: What advice would give a new or first time director in terms of collaboration with a composer?

JEFF: I think one of the bigger pet peeves is that music comes as an afterthought, that directors start to think about music really late in the process.  Maybe they’re thinking about sound late in the process, but this is half of the experience.  People are taking in the film through their eyes and their ears.  Directors have so much to think about, I know they do, to make a film.  There are so many different parts that go into it, but you can get a lot more out of your composer (or any crew member) if they feel that their job is valued and their contribution is valued because you’re thinking about the music early.  My advice to a director would be to think about the sound and music when they’re writing their script, when they’re doing their prep, when they’re shooting. Begin talking and thinking about music even at that early stage.  There’s nothing more stressful than being out of money and out of time and having to come to somebody and say, “Can you drop everything and do this?”  That’s really, really difficult to do.  And I really don’t want to have to say no to somebody.  Part of my job is to go on a journey and figure out what it is that this movie is supposed to be.  But films don’t get made overnight.  If you have a conversation while you’re in pre-production then you’ve got plenty of time to think about what it might be.

WOODY: How long have you been a music supervisor?

DOMINIQUE: Going on 5 years last month.

WOODY: What was your first project? Was that a film or tv show?

DOMINIQUE: Actually it was a short film, The Spin Cycle which had a pretty good festival run. My wife was the screenwriter and our production company co-produced it with director Chris Ohlson of 824 Pictures..  At the time I was more active in my music publishing. I had this background of music licensing and that kind of activity and music supervision, at that time, wasn’t even on my mind. And then we went through a screening of the 1st cut with the director and the editor. The editor had picked the song “It Must Be Love” by Don Williams. And the song fit perfect but we needed to clear the rights to it. And that right there is the genesis of my music supervision. I went into it with the, “I’m a publisher, I know what to do.” It just was a different side of music licensing and I was so intrigued. I immediately started looking for other films to work on and it grew from there. Publishing faded to the background. Our catalog slowly diminished as the reversion clauses were coming due and everything was reverting back to the songwriters. I just didn’t have the time to deal with the publishing. I was just overwhelmed with films and licensing. That was the moment – in the editing room.

WOODY: So your background was as a music publisher. What did that work entail?

DOMINIQUE: I would get submissions from songwriters and bands looking to get their songs cut by other artists. I would listen to the music that they would send me. I would make the decision whether I would become publisher of their song and pitch to the A&R departments at RCA and Sony and various artists in hopes to get the song cut by one of these big country stars up and coming in the community. That was the gist of my publishing experience at the time. That was a very difficult and competitive venture for me because I was an unknown music producer in the Round Rock Austin area. In the Nashville area publishers were walking right up to the A&R dept at Mercury and Sony and others. It was discouraging. So when music supervision came into my vision it was something positive, something that I could do that didn’t involve someone else’s career and I gravitated to that. The publishing companies are still active; in fact, they are like a sister company to the film production company we have. If we need someone to write specific music to one of our films that we work on then our publishing company will handle the publishing and the administration of the songs, but that is a very tiny part of the business.

WOODY: Are you a composer or musician yourself?

DOMINIQUE: I have been songwriting and playing instruments since I was a child, and when I was in my late 20’s I really wanted to take my songwriting to the next level. I bought a $2000 keyboard and a 4-track recorder and I just started taking years and years of wanting to write music to the forefront of my life. I started writing music and lyrics, and putting them together and, sadly enough [LAUGHS], performing the vocals on [the compositions]. My excuse was, “It was just to get the idea across,” I was not bragging that I was a singer. But I had a couple of songs played on the radio in San Antonio in 1989, so I honestly wanted to be somebody, not as an artist but as a songwriter. I wanted my songs to be recorded by other artists. I would send my songs to publishers just like writers do to me, but this was back in the late 80s and early 90s.

WOODY: So this was prior to you getting into publishing yourself?

DOMINIQUE: Yeah. Well, what happened was I ended up moving to Nashville, back in 1993 and I was there for eight years. I left San Antonio, and went to Germany to visit my brother for four months, and when I came back to the states I didn’t have anywhere to go. I wanted to start somewhere new and I told my self I would either go to New York or Nashville. And in my decision I figured that Nashville would be more my scene, so I moved to Nashville and shortly after that I was working on music row at Mercury Records. There I would just immerse myself in what the A&R folks were doing and try to learn as much as I could, and I learned a lot about how the record industry works from the inside, from the Mercury Records point of view. Shortly after that, across the street was Acuff-Rose Publishing and I ended up getting a job over there working in the copyright department. I was fascinated by the phone calls and faxes that would come in from film production companies wanting to license music from their enormous catalog. That germinated in my head for about four years until finally in about 2002 I moved back to Texas, and that’s when I decided that I wanted to pursue publishing and I started two publishing companies, one affiliated with ASCAP and one affiliated with BMI. And that’s how that launched. But my own music writing kind of fell to the wayside when I was in Nashville. I had a roommate, who was an artist trying to make it and I saw what he was going through and the doors closing on him – and he was leagues ahead of me. I thought, “There is no way I’m gonna make it as a songwriter.” But I still write lyrics to myself right now, when things come to mind I have this box that is just full of lyrics and I’ll jot things down. I figure one day, when I get older [LAUGHS], I’m going to get me another studio just for my own pleasure…

WOODY: The urge to write music doesn’t go away. I started out as a songwriter and musician, and came to Hollywood for all that, too. Twenty-five years later I’m not going to be discovered, but you know, maybe one of my songs will.

DOMINIQUE: Exactly, and that was my whole point there, I didn’t want to be the famous guy, I just wanted someone to record my songs. Back then, Billboard magazine was like my Bible. I would always look at who the songwriters were on the charts, and think to myself, one day my name is going to be up the in the parenthesis – right there as “songwriter”. So, that gleam was in my eye.

WOODY: So let’s talk about what happens once you have been brought on board a feature film. What steps at that point happen for you as a music supervisor?

DOMINIQUE: Well, it really depends on what point I come on board. There’s pre-production, there’s production – when they are actually shooting the film, and post-production. Some directors have no musical vision, and some are very music savvy. So that also plays into what my role will be. If I come in, for example, in pre-production, I’ll get a copy of the script. I love reading the script, and then highlighting certain scenes where I feel that, “a song needs to be here,” or “score here”. Find out, not necessarily what song needs to be where, but just that, “a song needs to be there,” and then I will compile it on my worksheet. When I have a meeting with the director we’ll share notes and we go through that. Then as the film is being edited and the scenes that should have music are actually ready to view, that makes it much easier to make a decision what song will actually fit each clip because you can actually see it. You get a feel for the characters and how the dialog is delivered. So the process just goes on until post-production, and usually the songs, if they are actually picked, go to the editor. The editor then drops songs in on the scenes and then once the editor puts together a rough cut then we can all sit down together and take a look at it. I usually run with that copy and try to make decisions with the director. And usually right off the bat I’ll say, “This song is a great song, but with the music budget you’ve given me, there’s not enough money to license that song, so we are going to have to find a replacement.” Then I go out to all my music resources and say, “This is the song that we have in the scene, this is the scene, I need something that we can afford that is comparable to” – whatever song we had originally chosen. And I get bombarded with submissions and I filter through them and I find two or three that I feel that the director might like. I will cut them into the scene myself, send a Quicktime to the director and editor and then have them take a look at it and if they like it then the editor will get a copy of the song. I am not an editor I just do the best I can to get the musical idea across in the scene. So that is if I come in during pre-production.

WOODY: It must be a difficult process if you come in and they have already temped the music, because I have worked with people and they bring in their film and they are using Blur, and the Rolling Stones and the first thing I say is, “what are you going to do about these music tracks? Because you are going to have to get the rights to these songs?” But they always think that everything is fine, and then they sell their film and they come back and say, “We have to find new music,” and I say “yup.”

DOMINIQUE: Yes, that is the frustrating part for me. Because immediately, what you just said is exactly what goes through my head and what comes out of my mouth, and then I get the look on their face, and I know, “Oh boy, we’re in trouble now.” So there are times when I try to convince them, “You know, this is the prime time now to place the song”, before we get to that point where we are back peddling, struggling, and stressed out. I have even found replacement songs for a film I am doing right now for a song that I think is not going to make it in the final distribution process. I know that they are going to come back to me, and I don’t have time to be stressed out, I have got a ton of other projects. So when I get some free time, I will go through those tons of CD’s I have, and go through Myspace, so that when that time comes I am ahead of the game. The worst situation for me is, I get a call, email, or I meet someone at a networking mixer and they say, “Yeah man, we’ve got like two weeks to get these songs cleared”, and one of my biggest questions is, “Why did you wait?” Then I negotiate my fee, and I get the information from them, and the majority of the time they still don’t make the deadline. Because the publishers are not going to rush for one specific film.

WOODY: For a festival clearance, or something like that?

DOMINIQUE: Right.

WOODY: So ideally you would like to get involved with them with a script in pre-production, would that be right?

DOMINIQUE: For me, that would be the ideal situation. Because I am there at the very beginning, I can make suggestions early on, and especially in the case where they have on camera performances where I have to clear the song before they even shoot the scene. So getting involved early on makes my life easier, it makes my job easier, and it makes things less stressful for the directors and the producers etc., and I like it more from a creative standpoint.

WOODY: Since the movie process takes so long – from script to screen can take an unbelievable amount of time do you have a variable fee schedule for that? Like if you got involved in a project and you were there all the way through versus getting involved in a project a month before they finish?

DOMINIQUE: I have been in both situations. I have film right now, Conflict of Interest, which I think back in March of 2008 I came on, script in hand, started reading the script, and listed out requests for particular tracks that I thought would work. The entire film was shot, and the executive producer wanted the entire film to be complete by the Presidential election, because it was a political thriller. We were in post a month before the election, and it was just, completely, not right. And they decided that they were not going to release it yet, and keep working on it. They went on a three month hiatus, hired another director who re-shot 79 pages of an 84 page script, and we just had a test screening last Thursday. They interweaved the new footage with several scenes of the old footage. I had all the license agreements for the music ready to go out for signatures, but I didn’t send them out because I didn’t know what songs were going to remain in the film. Well, none of the songs that I found remained in the film. So I am pretty much starting over. So to answer your question about my fee structure, sometimes it varies, but I try to do either half up front and half upon completion of my job, or one-third in pre production, one third in production and when I finish it’s the final third. On this film, I was looking at my Quickbooks last night, and the one for Conflict of Interest is going on 294 days from the day I sent out the original invoice. I also did the Overbook Brothers. I met with the director and one of the producers and they said, “We’ve got 30 days to clear all this music” and it was like, “Bam, bam, bam”, every day. We hit the deadline, 30 days and it was done, in and out. And those are good. I like those.

WOODY: I was going to say, that’s probably better.

DOMINIQUE: The director had already picked the songs, but he had put some forethought into it. He didn’t go for the top tier artists, or the top ten songs, he found Indie artists on Myspace. So when I came onboard I saw a couple of them were upper tier indie artists, but I was still able to negotiate. In fact I came in with, I think, $250 dollars to spare on budget. There was a lot of negotiating and working with artist management, and the artists themselves. But it worked out great, everyone was happy. The director was happy because he didn’t have to go out and find more money and he had his songs in the film. One song we couldn’t use, they were hard balling us, and we did find a quick replacement for it and it was a done deal. 30 days.

Conflict Of Interest

WOODY: If someone finds a few tracks for a production are they then the “music supervisor?”

DOMINIQUE: That’s probably one of the biggest misconceptions out there, and it’s getting worse in my opinion. People think that because they find a song that works well in a film that they are a music supervisor. And that is, to me, a music “provider”, someone who has provided music. I have a blog myself, and I wrote about the real role of the music supervisor, and the bottom line is, about 30% of [a music supervisors job] is the song selection, the creative side. The administrative side takes up about 70%, and sometimes more. So a music editor usually has a great ear, and finds a great song, pops it in there, and the director likes it. But they don’t have the relationships with the publishers and the record labels to get in there and do the negotiating, the licensing and the clearing; all of the administrative side to music supervising. The music supervisor brings the whole pie to the table, and anyone else who just finds music is only bringing a slice of the pie to the table.

WOODY: I would like you to go into the 70% a bit more deeply, because in a way I always thing of the music supervisor as a music producer. Not in the sense of a record producer, but a producer in the film sense of a producer. In that context, you are fulfilling all the producing functions for that music, you are finding the music, contracting the music, budgeting the music. People have a misunderstanding about music supervision, they don’t have a firm understanding that a great portion of the job is contracting, and negotiations, and budgeting, and clearance and so on. Can you elaborate on that?

DOMINIQUE: Yeah definitely, and before you even get to that point of negotiating etc., you have to find out who even owns the music. In today’s music world, it has been so diluted that you can’t even go to ASCAP and look up a song and see who actually owns it because it might say, “Bob’s Music Publishing.” Well, Bob’s Music Publishing is administered by Universal Music Publishing Group. So you have to dig down until you get to the company that administers 100% on behalf of all the other music publishers. So just getting to the right person, that can give you the contact information, that you can send your license request form to is a big hunt. And it’s not always right there in plain sight. A lot of people will go on ASCAP and BMI and see that publisher name right there and think that that’s who they have to deal with and a lot of times it’s not. Even sometimes, where the songwriter is from the UK and you have a US production going on, it might say Warner Chapel Music Ltd. and they are in the Performing Rights Society in the UK; plus you still go through Warner Chapel here in America and they do the approval through their sister company in the UK.

So there are a lot of things that you have to know before you start negotiating and get the ball rolling, and once you have identified who is the proper copyright holder for the sync rights and the napster rights, that’s when you do your license request form. That contains the production company information, the composition, composition title, the songwriters, publishers, how are you using the song, if it is going to be background vocal, background instrumental, how much of the song you are going to use– 10 seconds, a minute, the entire length, and what rights you want– America, worldwide, what media– DVD, TV, theatrical, and term also– one year only? So all these things you have to piece together, they all have be gathered up and together on one concise form, sent off, and then the clock is ticking. How long is it going to take for them to get back? You have to follow-ups many times until you get a quote. And if you have got a full $5,000 in your music budget, and you get a quote for one song on the publishing side for $5,000, then you are in negotiation mode. And right there, if you don’t have a relationship with that publisher, chances are slim to none that you are going to get that $5,000 down anywhere near what it needs to be for you to be able to license any of the rest of the songs. So having relationships with the publishers and the labels and the people that you have to deal with is key. If you do get your fee negotiated down to a favorable amount, that will allow you to have money left over for the rest of your songs.

Then if it is a major publisher they will most likely draft a license for that song, if it is an independent they will say, “Can you draft a license for us?” So if you don’t have the proper experience to draft a proper license, it’s not one of the forms you just download off the Internet and fill in the blanks. You have to know what’s in there, because every licensing deal is different. So that’s the next step, and once the licenses are all done, and the tracks are cut for the music the cue sheet comes into play. And putting the proper information in the cue sheet is key because the songwriters and publishers rely on that cue sheet to get performance royalties down the road. So that’s pretty much the process from the song conception to the cue sheet.

WOODY: Could you just detail a little bit the different sorts of rights that people need to acquire for a motion picture?

DOMINIQUE: Sure, you know it really depends on what their plan is from the start. If someone is going to shoot a film, and it is going to go straight to DVD, well, pretty much the only rights that they need to deal with are home video DVD rights. But if they are looking for a broad release I always try to get “all media worldwide in perpetuity”, that way their distribution options are unlimited. However, it does cause the fee to go up. So you have to balance how much money you can afford for licensing these songs and that’s when you have to chisel your rights down unless you get a step deal, which is something completely of a different topic. I usually ask the director or producer or whoever is going to be in charge of the distribution plan, “What are your plans? Are you just going theatrical or are you going to TV?” and once I know that I’ll know how I’ll gear the rights that I request. If they are only planning on having it broadcast in the United States, or North America, then I just request the US only, or if they have an actor who is big in Germany I will ask US only, and Germany. Just to specify the rights according to how the production plans on releasing the film.

WOODY: So if they have some success, and their distribution model changes, then the contracts have to change as well. If this was supposed to be a DVD only release, they get a bite and all of a sudden Universal says, “Hey we’re going to pick it up and run it in sixteen cities,” then you have to go back and renegotiate those rights?

She Pedals Fast

DOMINIQUE: That is correct. Go back to the table, present the new rights, and get a new quote and hope that either the distributor will pick up the additional costs for the music, otherwise the production company has to somehow come up with the extra money. We then revise the license agreements, we cut the new checks and then they’re good to go with the new distribution model.

WOODY: For those that don’t know, can you talk about the synchronization rights and other types of specific rights that have to be enabled for you to be able to use the music track?

DOMINIQUE: The sync rights are basically the publishing rights to the actual composition. If a song is being used in your film, synchronization rights have to be obtained. You don’t have to have the master rights, because you can do a cover song. Basically, you need permission to record that new song from the songwriter, or the artist who recorded it and licensed it to the production, or it was a work for hire and the production company might want master rights. So, the publishing rights, or synchronization rights, are something that you have to have regardless. The master rights usually belong to the record label or whoever owns the specific master recording rights. There can be many master recordings to a single composition, so whichever master recording you are using in your film, you have to find the label or owner of that specific recording. 99% of the time, publishers are your synch rights, or publishing rights holders, and most of the time record labels are the owners to your master rights holders.

WOODY: Do you recommend a certain percentage amount in terms of an overall production budget for the music clearance rights?

DOMINIQUE: I really never recommend a percentage. Usually they will know what they want to put aside for music. Once I see that number it tells me where I can shop for music or tell them what they can and can’t have based on what is in their temp tracks. There are rules of thumb out there that I’ve heard,“10% of your production budget,” and stuff like that but I have yet to see that work. It’s usually the other way around. You just tell yourself, “Ok I can put $10,000 on music. And that’s what you use to go shop for music. Of course “music” is composition, preexisting songs and it’s your composer, your music supervisor and sometimes your music editor. All of that falls under that one line item so you have to factor that in. And then once you pay the crew, how much do you have left over for the music itself?

WOODY: Do you work with first time filmmakers?

DOMINIQUE: Yes. Several times.

WOODY: And have they been surprised when you explain to them how much money it’s going to take for them to secure the rights for the music?

DOMINIQUE: Yes. They’re surprised only in the fact that now it’s reality to them. They have heard the horror stories from other people. A lot of those stories are like the AC/DC songs, the Rolling Stones songs, the ridiculous $100,000, million dollar deals. Because they hear those stories, when the small little artist where everyone knows them but they’ve never had a big song, and still his songs are demanding $5000 or in that ballpark, it is an eye opener. But still the whole world of music clearance is just baffling to most people.

WOODY:I did a picture where the filmmaker got the rights from Beck to use a song for the opening scene of his film for film festivals only. And if it sold then he would have to renegotiate the rights. He did end up selling it and was not able to secure the rights at that point and had to replace it.

DOMINIQUE: Yes, that’s exactly what happened to another film that I worked on, “Yesterday with a Lie”. They locked the film and only had festival rights. And they had the composer as the

Yesterday Was A Lie

music supervisor. It got to the point where they were getting broad rights for 4 songs, on average, it was about $20,000 per song in order for them to get the rights after the festival rights. So I came on board and told them that, “I would try to get it down, but I didn’t think I would.”

All four songs were cover songs, so I only had to deal with the publishers. I couldn’t get them down except on the one key song. But one of the artists did not want a cover version of her song used in the final film that was going out theatrically and she wanted her version in there. And as much as I tried and tried and tried, the use was denied. So they had to open up the film, pull the song out, and have another song recorded. So that is another frequent mistake made by the filmmakers.

WOODY: What advice would you have for a band, a singer/songwriter, or someone who had tracks of their own that they wanted to have placed in films but they didn’t know where to go? How would they find someone like you?

DOMINIQUE: Well, the best way is to get on the Internet and do a search on song placement, music placement. Some people don’t even know the term music supervisor, so just plug in whatever term you know. They have to do a little research and use a little diligence because it is their career in hand, and they should learn as much as they can about licensing music. The more they dig in, the more they will find terms and names and people who do what it is they need done to get their music out there. Then send an email make a phone call and inquire. Say, “I have some music that I feel is very good, and I think it could be used in a movie, what do I do?” I get a lot of emails. I send out a lot. In fact I have an email template, and I get these emails from either a songwriter who wants to get their music placed, or someone that wants to be a music supervisor. I just copy and paste an email and say, “Hey, this is what I have been sending out,” and give them some highlights and pointers to let them know what it is that they need to do to get their songs into films. And one of the important things that I always stress with songwriters is to get the administrative side of their business together. Get registered with ASCAP or BMI or whatever performance rights society is in their area. I’d like for them to get their music copyrighted. Take care of the business side so that when they get the call from me and I say, “Hey I just listened to your song on Myspace and I want to use it in a film, and I need you to clear this today,” we don’t have to go through all the paperwork and other stuff on their end to get their song ready. They should have their splits figured out with their co-writer – all of that side of their work should be done.

WOODY: That is terrific advice. So then they should already have their own music publishing company in place?

DOMINIQUE: They can, and it’s a choice. If they want to handle all of their own publishing and want 100% of their publishing rights they can. If they want someone else to champion their music and jockey it out there to the world and try to get placement and do a 50/50 split publishing deal then it’s their prerogative. The big thing these days is for the artists and songwriters to maintain as much control to their music as they can. But that is another thing. If you’re going to publish yourself you need to get yourself a publishing company. Get it registered with ASCAP or BMI or whoever you want to affiliate yourself with as a writer and just have your business side taken care of so when you get that phone call or that email you can jump right on the bandwagon and go. Because a lot of times, like when I had that 30 days on the Overbrook Brothers, I didn’t have time for someone to say, “Oh, well let me get with my co-writer and see. We don’t even know if we are going to go 50/50 because he did more than I did. So it may be 30/70,” and then it is like, “move on to the next song.” My thing about these new guys is to get your business together, and then get out there and learn how to get yourself played. Learn as much as you can so you can communicate with someone like me. When we start talking about “sync”, and “Napster” and “cue sheet”, you need to know what I’m talking about so we can have a professional conversation.

WOODY: What do you think of these song placement services out there, are they useful for you and the songwriters?

DOMINIQUE: There are places – Barry Coughlin has a company, musicsupervisor.com and I have been there. I know Barry, in fact he invited me to a panel at SXSW back in March, so I have been on their site looking for stuff. They put together some playlists for me to listen to. There are a lot of sites out there like that that are very helpful because I already have established relationships with them. They know me and I know them, and I can send them an email asking for some 1940’s era WWII music and then I can move on. Then I get an email just perfectly tailored to what I need. Then I click through, see if anything sounds good, if it does then I’ll put it in a folder for that particular film, and then I go back to it. There is a convenience there, that I don’t have to go listen to 200 songs, I’ve got some creative people on that end that will do that for me.

WOODY: So you don’t think that it is a waste of money for someone who is looking to have their stuff placed?

DOMINIQUE: Well on that side, I think it’s a good idea because you have someone that can expose your music. But the problem with it is that they have so much music that they can’t give your music the time that it needs. That’s why I would recommend that if you don’t, as an artist, have the time or desire to pitch your own music, I would find a publisher or a small music library that can champion your music and say, “Hey, I’m going to work for this artist this week and see if I can get some placements.” In fact in the FM Pro news group, or list, that was a conversation that they were having, about if anyone had any success using these types of services. Most of the people said no. So for me, I think, take some time and control of your own business and pitch your own music. If you have gigs on Friday and Saturday, let Sunday be your day that you get out there and find films that are in production, find out who their music supervisor is, get in contact, find out what they are looking for, and do it yourself. For me, that is the best route to go.

WOODY: I think you put your finger on it right there – filmmakers have the same problem. They don’t realize the business part of the show, and let that fall by the wayside. They just assume that their movie is going to be found and they are going to be the next Spielberg, or their music is going to be found and they are going to be the next Michael Jackson.

Harmony and Me

I saw a screening of Harmony and Me at the LA Film Festival, and after the screening they had a Q&A, and someone had asked specifically about the music, because the lead character, played by Justin Rice, is a musician himself. There are some live performances throughout the movie. I think some of the music was written by the lead actor, whether it was him performing live within the movie, or whether it was a recorded performance. Can you talk a bit about your involvement in that specific movie and some of the things that you had to deal with?

DOMINIQUE: Sure. First of all, this was another one of those films where I came in after the fact. The music had already been selected, and Bob Byington, the director, was very meticulous about the songs that are in the film. The highlight of everything, for me, was when I came on board I got a copy of the film. I watched it, and immediately I knew there were problems because a song that’s not in the film anymore is Elton John’s song entitled, “Harmony”. It was a perfect song for the film, but it was going to cost $100 per side to license it. Universal ended up denying the use because it was just wasted their time. The budget that we had available would not cover it, so that was the first song to get scrapped. The good thing is that a lot of the music in the film is by Justin Rice, who is the lead actor. You even see him performing, and you see a lot of musical performances in there. He and Bob Schneider did his song “Changing in Mind”.

WOODY: Is that in the wedding scene?

DOMINIQUE: Yeah, the wedding scene where they are at the piano together. Then Bob did the romantic performance to the bride. Bob Schneider has been working with Bob Byington on Bob’s songs. I did a short film, and I liked some of Justin’s music back in 2006. So Justin and I have had somewhat of a relationship prior to Harmony and Me. That is how he and Bob and I built our relationship and it made using all of his compositions, which is a majority of the film, a lot easier to work with. He is very easy going when it comes to licensing his music in these small films, especially the ones that he has a role in. That made it easier, but the bigger songs have been a struggle. The one thing that I preached to them, like I do to all the other directors or producers, is, “I am playing the Devil’s advocate here, I am telling you the truth. I am not going to water it down and tell you that you might get this song. It is your job to take the truth and come back to me with a solution that I can take to the publishers and the record labels and try to make it happen. I am not I charge of your money, and I can only negotiate based upon what you have given me to work with.”

WOODY: Right. Now if someone came up to you and said, “Hey, I want to do what you do, I would love to be a music supervisor.” What advice would you give them?

DOMINIQUE: Study! I would tell them to go on the Internet and Google “music supervisor”. There are books out there that they can read to give them the basics of everything that a music supervisor does from A-Z. There are websites that give a description of what a music supervisor does, on how to clear songs, what’s a sync license is, what a master license is. So if they really want to be a music supervisor then they are going to make the effort to learn as much as they can. Once they get a grip on the entire concept of what a music supervisor does, I would suggest going to a local mixer where people are getting together, talk to some people and find out who is shooting a film at a really low budget to bring you on. They probably don’t have any money to pay you, but you just want the experience, and you go and try to find a local band with the same situation. One with a few gigs every month and they want to get their songs in a film and they don’t care about getting a licensing fee. But, the thing about it is, what you’ll learn, is that you still have to follow procedure. Just because someone says, “Yeah, you can use my song, and I won’t charge you and fee,” you don’t just throw the song in the film and move on. You still have to do the paperwork. You have to do a licensing agreement. You state the in the compensation paragraph what the compensation is, and of course it has to be at least a dollar. Do the paperwork. That’s the only way you’re going to learn it.

WOODY: You go into this in some detail on your own blog.

DOMINIQUE: Yes, I have several postings on my blog. One is specifically named, “So You Want to Be a Music Supervisor,” and in there I go into detail about what you need to do, what you need to learn, and it points to a couple of different references that will help you to get one step closer. There are a lot of things that I have written about in my blog from three angles, from the music supervisor’s point of view, from the filmmaker’s point of view, and from the songwriter/musician’s point of view. Basically, the common thread throughout my blog, is – doing the right thing. Regardless of what side of the licensing deal you are on – just learn about it. Learn how it works so when you are in the midst of a licensing deal you know the language; you know what needs to be done. Then as a filmmaker or a musician/songwriter, if you’re in a deal and you hear something that doesn’t sound right, that knowledge that you‘ve learned will cue you to say, “Hey wait a minute, that’s not how it’s done.” If you don’t do your homework and learn, that will go right past you and you won’t know that something happened that shouldn’t have happened.

WOODY: Let’s talk about the distinction about the music rights that you would cover versus the score, which generally is the composer. He’s been hired for the movie and is adding a dramatic through-line according to the picture edit and you are dealing more with songs that already exist. What sort of relationship do you have with the score composer?

DOMINIQUE: The director has a closer relationship with the composer during the scoring of the film because the director has his vision and knows where he wants the score to be dramatic, orchestral or something more subtle so they create that landscape together. Where I come in is I am the liaison – if the composer has an issue. He may come to me and say, “Hey I’ve been talking to the producer or director about my contract,” or, “I haven’t been paid yet,” or something like that. So on the non-creative side that I am there for the composer. On the creative side I might be looking at the film saying, “Oh that montage. I’ve got a perfect song for that.” And the director has just told the composer he wants that to be a very soft orchestral score to go over that scene. So we have to communicate so we know what I’m going to do versus what they are going to do so there is no overlap.

WOODY: So I would think that the director is the person you spend the most time with. When a director is deciding on the DP for instance they may go over the lighting in photographs or the style of some paintings to see that they are thinking along the same lines. Do you work in a similar fashion when meeting with a director on a project?

Year At Danger

DOMINIQUE: Definitely, particularly if it’s time to do a song replacement. If the director already has all the music that he desires, but we can’t license the songs, basically we’ll talk about alternate bands and he’ll mention someone. I might suggest such and such band; “they are a great band here in Austin very similar to what you have in the movie”. And if he hasn’t heard them before I’ll get him an mp3 and have him listen to them. He’ll tell me some things, I’ll take notes, and I’ll go out on the internet and try to find that band’s music and immediately do a quick clearance check to see who owns the rights to it. I make sure that we are not going into the same problem that we had before. We do sort of paint a picture for each other musically about what her/she feels could be the right song. We listen to some things until we decide which is the best song(s) for that scene and try different songs with the scene to see which one works best.

WOODY: What do you think that filmmakers misunderstand about music supervision?

DOMINIQUE: A lot of things. [LAUGHS] Probably the one thing that really gets me is the fact that they think that the music supervisor’s job is to find music. Especially when I am looking for a job they say, “Oh we’ve already found all of our music.” That’s when I ask them “who’s doing the clearance, who’s negotiating the deals, the licensing, who is making the music cue sheets?” Their eyes light up and they say, “Hmmm, gee, I didn’t think of all that!” So the role of the music supervisor, period, is just misunderstood in the film industry. And of course the biggest misunderstanding is of what it really costs to license a song and all of the work that goes into it. The whole idea of not knowing that we don’t just go finding songs is probably the number one misconception.

WOODY: And probably just the idea that things need to be cleared in the first place!

DOMINIQUE: Documentary filmmakers often don’t understand this. They’ll ask “if I’m just going to use a few seconds of a song do I still have to clear it? Or in a corporate presentation do I have to clear it.” I try to get detailed information out there about all of this.

WOODY: So tell me what you love about what you do.

DOMINIQUE: I love it from A to Z. Even when it gets complicated I see that I can come up with a solution that will make everybody happy on the film side and also on the music side. I will say that the one thing I really enjoy about being a music supervisor is getting the call or email from someone who wants me to be onboard. If they are in early pre-production and they give me a script and I go home, I read the script and my mind is focused on what a good song for the various scenes would be. Then I just take that to the end and then finally I’m sitting there with the rest of the crew and I remember the day that I found that one song. It’s the whole process from beginning to end – and all of the ups and downs to get to the end and how it all works out .

WOODY: What is it that you don’t like about what you do?

DOMINIQUE: Oh, things that frustrate me. This one film comes to mind, I just don’t like it when I have to struggle with the director. I am trying to educate the director, and they want the song no matter what, and I have already exhausted my efforts with the publishers. I don’t want to look unprofessional in the publisher’s eyes, as if I don’t know what music clearance is all about, because often the director wants me to do things that just go beyond the norm. So, the struggle with the directors is probably the least enjoyable part of dealing with what I do.

WOODY: Struggle defined how?

DOMINIQUE: An example of a struggle is when I tell the director that I have already negotiated the song that they want from $10,000 to $5,000 for the rights they are requesting, if they want it to go down anymore we will have to reduce the rights. They say, “No we have to have these rights and this is all the money I have. Go back and try to get the price down more.” And I say, “I have already brought a 50% reduction on it.” I’ll go back, but I am going to let them know that I understand their position but I have the director breathing down my neck and he wants to bring this thing down. “Is there any way we can’t work something out?” And when their reply comes back, “No, this is the lowest we can go, we have already brought it down $5,000.” And the director is still not happy with it.

So it is just stubbornness and an inability to accept the fact that what has been laid on the table is the final offer, a take it or leave it deal. It is beyond my control, and I have already put my expertise and my relationships on the line, and I have to reach a point where I don’t want my relationships to be tarnished because the director wants me to do what is beyond what has already been done. So I have to protect myself because I will be working with these record labels and publishers time and time again and almost every day I am back and forth with them with one project or another. As for the filmmaker, I might never work with them again. So I have to reach a point in my career where is say, “I have done the best I can, I am not going to tarnish my relationships just to make this one deal work, when I have hundreds of deals going on right now.” That is, for me, the most frustrating and difficult part of the job.

The King Of Texas

WOODY: Is there anything that I missed that you still want to cover?

DOMINIQUE: The one thing that I might add is to underline what I said earlier – that the creative side is about 30% and the administrative side is about 70%. I have become interested in Twitter. I like to see what the other music supervisors out there are tweeting about, as far as the bands that they like, and who they are listening to, because I look up to them. They are doing big TV series and the big films and the films that come in on the weekend box office that make $30-40 million. So I like to listen to what they are listening to, and get a feel for their interest in music. And sometimes I’ll watch their shows and see what music they select. That is a learning experience for me, but it’s just interesting to see. A lot of times I will listen to a link that they put up. I will go to a band website that they just listened to and like, and I’ll make my own personal assessment and say, “Wow, if I would have had that song when I was working in that film it would have worked great over certain scenes.” So it’s interesting to see what the other music supervisors are doing. It is kind of refreshing, and I aspire to be in their shoes, and have the experience that they have.

WOODY: Well, this has really been great. Thanks for your time, thoughts and expertise.

Human hearing of frequencies is calculated on a scale of hertz or cycles per second.  The commonly defined range of human hearing is 20 hertz to 20,000 hertz per second.  A graphical EQ device, be it a hardware version or a software plug-in like those shown here generally work within that range. (Depending on your age and life experiences your hearing may be markedly less than this…)   In the application of boosting or cutting particular frequencies there are also a few controls which determine how the boost or cut will be applied.  The first is the particular frequency itself, the second is the amount of boost or cut, usually described in decibels, and third is the “Q” or width of the boost or cut.  If the horizontal line is flat, as shown here, then no EQ processing is happening.

10 band parametric EQ

Looking at the photo here you can see the controls just described.  This particular EQ is a 10 band EQ meaning that you can affect 10 different bands or frequencies at one time.

The graph indicates the frequency to be affected sorted with the low frequencies at the left of the graph to the high frequencies at the right.  Each ‘band’ has several controls – on/off, the type of “curve” to be applied, the gain or amount of the processing, the frequency where things are being applied, the Q of the processing and the overall input of the source and the output after processing.

Bell EQ curve

Here is a bell curve which looks sort of like a – bell.  This is a very common way to apply EQ to a particular frequency.  The Q is set to very wide so it is affecting a wide range of frequencies that are near the key frequency.  Applying EQ to satisfaction is to determine the central frequency to be affected, the size of the Q and the shape of the curve and the amount of gain that is being cut or boosted.

Shelf EQ curve

Here is a shelf curve that sort of looks like – yes – a shelf.  Different EQ makers apply this differently and this one makes a slight cut prior to the boost.  By the way these are pretty extreme boosts being made in these examples to more clearly show what is being discussed.  Often EQ will be applied at much lower boosts or cuts and at several different frequencies.  The idea with EQ is generally to do as little as possible to affect the desired change.  You can easily mangle the recorded audio to something unacceptable.

Low Pass and High Pass filters

This picture shows a different type of EQ – the curve at the left is called a “High pass” filter and the curve at the right is called a “Low pass” filter.  These filters will remove all of the frequencies at the cut off frequency.  So, in this example, the high pass filter removes all frequencies below 100 hertz and the low pass filter removes all frequencies above 10,000 hertz.  These are very useful filters for removing unwanted elements of recordings.

These “pass filters” are powerful tools for affecting the recorded audio being processed.  Here are a few examples that might shed light on their particular usage.  Let’s say that your boom man has trouble holding the pole and his fingers are creating small “boom” sounds during the recording.  Often these noises are very low in the frequency range and are difficult to hear without a sub-woofer.  A high pass filter may remove all of the noises without affecting the quality of the recording.  Or perhaps the tracks sound a bit “murky” so a slight presence boost at 2.5K or 3.5K may help “lift” the voice and a small cut at 300 – 400 may remove a bit of “boominess.”   If you look at the EQ that has a low and high pass filter applied you’ll see that it creates a “band” of frequencies that will pass through it.  The other name for this sort of setting is a “band-pass” EQ and these can useful in a number of ways.  Since band passes limit the frequency range of a recorded signal they are useful for many things. Many devices such a telephones have a “limited band-width” so you can mimic this bandwidth with a band pass filter. 

Notch at 1K

Let’s say you hear a steady noise in your recording that is present in the upper frequencies.  You may want to try a “notch filter” which can notch out the offending frequency.  Here several bands are tied together to really define the notch.  The idea here is to carve out only the offending frequency and try not to disturb anything else around it.  As you can see a graphical EQ is a very handy way of visualizing your sound.  Mix engineers will often “sweep” the notch along that horizontal range of frequencies until the frequency range to reduce or add is pinpointed.  Notches can be very useful in eliminating any type of steady state noise.  Steady is the key idea because if the noise or sound oscillates to other frequencies then the notch is no longer relevant since it is specific to only a narrow range of frequency.

EQ is an amazing tool with many useful applications.  However it is not a miracle device and it is most certainly not a noise reduction device.  It can indeed reduce noise but it is less successful at that than a dedicated noise reduction device is.  There are “broad band” noises such as air conditioners that cross many frequencies at one time.  They usually can not be notched or pass filtered out.  They will require some different processing, but if you need simple boosts or cuts or if you have tones that need to be minimized or emphasized in your recordings that are steady state, EQ will be the right tool to use.

This is merely a quick explanation of this wonderful, misunderstood and useful tool.  Experiment with EQ and learn how each of the controls affect the frequencies.  Learn how cutting and boosting achieves different effects and how specific frequencies affect specific sources.  Listen to the world at large and imagine if you had to use EQ to recreate the sounds you hear.  Walk by a stone building with music playing inside, loud but boomy and distant, what EQ curves might be applied to a standard music track to achieve a similar sound?  Listen to the world around you. This in time will guide you on how to use EQ to mimic the sounds in and of everyday life.  And then use those ideas to create the sounds you hear from this world – or others. Comment with thoughts, ideas or questions at will.

I was recently mixing a broadcast project with some serious audio issues.  These production issues are always a head scratcher.  There was an interview of two subjects sitting side by side.  One was distorted and sounded like they were in a wind tunnel, the other sounded clean.  The scene cut between a two-shot and individual close-up shots of the talent.  None of the audio cuts even remotely matched even though they were sitting next to each other!   Blasts of clean audio cut to distorted audio cut to the wind tunnel.  I was asked to “clean it up a bit.”   Easier said than done!

I started checking through my box of tools to tackle the problem and several fit the bill.  I won’t name the other programs but one of them wouldn’t authorize although I’ve owned it for over a year.  Their website was useless for this and they wanted me to pay for support.  I can’t quite figure out how these companies have the gall to charge me to figure out why the program I bought and paid for won’t load.   But … that is a rant for another day!  Let’s just say that I have had these problems with this company before and now I’ve finally “washed” my hands of their noise reduction product and them.  (hint, hint…)

RX has five separate modes for tackling tough audio problems.  These are not unique to iZotope since these are the types of tools generally found in similar sorts of programs.  However the iZotope implementation has a wide variety of parameters to adjust how the source file is being effected.  These are very powerful tools with a real range of abilities.  A brief description of each is -

Declipper – a repair algorithm that finds and repairs analog or digital clipping or overmodulation.

Declicker – a repair algorithm that finds and repairs clicks and crackles from recordings.

Hum removal – a repair algorithm that finds and repairs hum and buzz.

Denoiser – a repair algorithm that finds and repairs pesky broadband noise problems.

Spectral Repair – a repair algorithm that finds and repairs random noise within an audio file.  Pretty cool feature.

Unfortunately for me I had to use each of these tools on this interview.  And they rocked it.  The hum removal is an adjustable comb filter that takes out the main frequency hum and it’s associated harmonics.  (Comb filters are filters of many small bands that graphically look like a – comb.)  This has many parameters to adjust and worked like a charm right off the bat.  Next I had several bits of horribly distorted audio.  Using the declipper tool I was able to make things sound less awful.  Not great but definitely better.  I can’t blame RX on this one, fingers pointed squarely at the sound recordist.  Each of these tools have a box where you can audition only the portion of the audio which is being filtered, adjusted, manipulated or repaired.  I wanted to check that the decipper was actually addressing the issue and when I listed to only the audio to be repaired lo and behold all I heard was distortion.  So although it didn’t “fix” the file it took some of the edge off.

Next up was the A/C – wind tunnel problem.  This was a real treat.  I used the denoiser tool to clean these audio bites up.  As is the case with other similar tools on the market you find a “clean” portion of the noise (huh??) and “train” the filter what to remove.  Once it’s trained you process the file.  There are a couple of denoiser algorithms and I found in this case the “offline” ones worked best.  I am working in ProTools and you can run the RX tools as inserts to process the track in real time.  Since these had so many different noise problems I hard-processed the files and rewrote them.  These higher powered algorithms are not available as a real time insert and instead process offline – or in other words rewrite the file with the processing.  The difference was stunning.  All of a sudden I was able to match the audio files to sound like they were actually – recorded well!

This is a highly effective tool for audio post.  I have not used it specifically on music sources but if you check their website out you’ll see several powerful demonstrations specific to music.  I have used all of the major software vendors for noise reduction as well as the high-end hardware units.  Now this can’t compete with the dedicated hardware solutions but it’s not thousands of dollars either.  If you find yourself up against difficult audio restoration in your projects I would highly recommend RX as a solution.  These tools can make you a hero to the producers who want a “little clean up” on their horrible audio recordings!

Simply put an OMF file is a digital container of all the audio files, edits, crossfades, pans and volume automation from your non-linear video editing platform.  It is a mighty handy tool compared to the old way of doing things. 

Here is a screenshot from Final Cut Pro.  You can see that there are eight tracks of audio, the top four of which are muted.

There is volume automation, panning information and a general temp mix in this edit timeline.  When we export the OMF from this timeline it will include tracks 5 – 8 only.  The OMF sees those muted tracks and leaves them out of the final export.  Most sound editors will want it all.  So I’d say unmute before the OMF creation.

Also a small FYI for those of you still using Final Cut 5 and below, the OMF is not a full spec OMF file.  It will not include volume automation, which if it’s feature length can create whole lot of extra work.  Not that you won’t re-mix from the ground up which is usually the case, but the temp mix can be a real time-saver for long projects.

I’ve also included a screenshot of the actual export of the OMF from the Final Cut Program.  Nothing fancy just a simple pull-down under File/Export – you can see – Audio to OMF.

You’ll get another dialog box after that which will give you a few options.  One is the handle length or the amount of audio that will be included on either side of any cut.  Handles are very important and contain loads of valuable information for a sound editor.  I generally ask for handles to be at lease five seconds if possible.  The default in FCP is 30 frames or one second.  Another option is to include volume automation and I would also add that functionality as well.  You can also choose to include crossfades which can be re-created by ProTools or the program that will be importing the OMF if they are not included.  There was a bug a while back in OMF exports that was related to crossfades.  This is no longer an issue.

What has just been detailed here is merely the mechanics of creating the OMF file.  As you can see it is a pretty simple and straightforward process.  Avid, FCP and other leading non-linear video editors offer some sort of OMF functionality and exporting them are all about the same process.  Make sure to mark an in and an out point create the accompanying movie file as well as the OMF from these same stop and start points.

Now that we have detailed the process of the OMF export what should be on the timeline in your non-linear video editor?  In my humble opinion, in a world of “less is more”, for audio post I would say that “more is more”.  If you have alt takes of lines, include them.  If you have roomtones include them.  Please.  Pretty please.

In fact I’m going to stop there.  Roomtones are a key component in audio post.  Period.  Notice the use of the word – key.  Not optional, not “if I can get to it”, not anything other than – key.  Not having roomtone is like writing without an eraser, a delete key or white-out.  Whoever digitizes the original camera tapes or dats will surely come across them.  Digitize them and stick them in a folder to give the sound editor or better yet as I advised cut them into your timeline and export them with the OMF.

I often ask the production recordist why they did not include roomtones and am generally told that they did indeed record them.  But somehow they never found their way to audio post.  So what happens to them?  They get lost in the shuffle with the mistaken assumption that they are not all that important.

In general picture editing gets a bit of time to complete their process.  Sometimes months and sometimes a year will be spent creating the final locked picture edit.  At the end of that they want the audio edited, mixed and output pronto.  So the best picture editors assemble their audio in a meaningful way to make the audio editors task simpler.  One thing that must be remembered is that all of that audio will be picked through, sorted, rearranged and cut to different tracks by the sound editor since it is their’s and the mixer’s job is to create a set of mix stems.  The editor had to create only one stem – a stereo temp mix.  And because of that many picture editors get lazy and just have their audio fall any where there is is room on an audio track.  This is fine for their temp mix but will not do to create a proper mix.  If Sound effects and music and dialog are all jumbled in the timeline – they will also be jumbled in the OMF.

Who cares?  “The audio guy will sort it all out ….”  The person who will care is the person who foots the bill.  Why?  Because they are going to be paying good money for studio time and an experienced sound professional to do basic housecleaning on the OMF.  It may sound minor but audio post deliveries are always tight and getting tighter and to waste a whole lot of time on things that have nothing to do with sound design and mixing is also a waste of the Producer’s money.  If you have a feature length project where the audio tracks were assembled willy-nilly it will take considerable time to sort out.    I have received OMF’s when opened reveal that the boom track and the lav track swap from take to take.  My job is to find “the best” sound and make that sound better.  If the boom sounds best then that means I have to audition and sort every single sound bite to determine whether it is the boom or the lav.  There may be thousands of these audio files in the timeline.  If the editor has diligently always put the boom on one track and the lav on another then he has cut my prep time considerably and I can concentrate on the task of making the movie sound even better.  Feel free to comment with questions since this is a huge topic that I’ve barely touched on.

Todd Sklar, writer and director of “Box Elder” has just wrapped the first leg of his nationwide tour for the film.  The tag line for his movie “Box Elder” seems to sum up what it’s all about best – “On the the road to nowhere, these guys call shotgun.”  Todd took time out from scheduling the next leg of the tour to talk about directing, the tour and of course – sound.

WOODY: Many first time directors are more attuned to the visuals and the technical aspects regarding the picture than the audio and the recording process on set. Did you find that to be true for yourself?

TODD: I would say that for me story and performance always come first, but visually, as the technical aspect of the film, I understood that better. In a weird way sound is something that I am very acutely aware of when I am watching films but I have no practical production experience with it what so ever. It was more so the lack of know-how in the translation from point A to point B. I love overlapping dialogue and I really wanted that. I would always source “Mash”, you know how great that is.

WOODY: Altman was a master in his use of sound and production dialog.

TODD: Exactly, exactly. But I did not understand necessarily how much effort and work he put into that you know? They don’t have audio commentary tracks on DVD’s with sound guys talking about how you approach sound. The first time I watched “Boogie Nights” P.T. Anderson was talking about how they got that first tracking shot and so I can understand how to do that and plan how to do that. A lot of it was just not having the experience to understand how difficult of a thing production audio is. And the weird thing is, going into making the film I had so much research that I was doing and everybody, any idiot who’s made a film in the world would warn you and tell you how important sound is, and I was well aware of that. But you really don’t understand how it’s your number one priority if you do not know what you are doing. You should be listening to the sound guy and telling everyone else to shut up. That’s a learning lesson without question.

WOODY: And have you made other pictures as well?

TODD: I have made some shorts, but I would not really even consider them shorts. I would call them “film experiences” because they are all so flawed in their own little way. I have no background in film and didn’t go to film school. The only reason I made shorts was to get that hands-on experience and to learn story telling through the lens in a hands-on approach. Every one of the shorts I made was way overtly ambitious in every aspect of the medium, the story telling and everything. That way I could try to stretch myself and figure out how to do certain things. So they are all very much flawed and hard to watch.

WOODY: So that was inspiration to go ahead and tackle a feature-length project?

TODD: (Laughs) Yeah. It’s interesting because my technical prowess didn’t actually grow that much. I think my ability for story telling has always in its strongest form been natural instincts and intuition and what not. The thing that kind of progressed me into doing a feature is just the last short I made before this feature was around twenty-eight minutes long and that was heavily condensed with a lot of scenes. It was really too heavy and that was in its shortest form. I just could not fit all the things I wanted to do in a story in less than ninety minutes. So for me, I didn’t set out to necessarily write a feature, but I think the first treatment was twelve pages longer than my first draft of the script, which was like 160 pages. (Laughs) Either it’s going to be a TV show or it’s going to be feature.

WOODY: So you out grew doing shorts?

TODD: Pretty much. And only in the story telling aspect. At that point I did not even feel comfortable making another short as far as my technical skills go. I had to pick that up at a much more relevant pace to match the story telling.

WOODY: So in terms of actual time from when you finished the script to actually wrapping was what, 9 months or a year?

TODD: Yeah, a little bit less than that.

WOODY: And how about the post process? How long did it take you to get from wrapping production to a locked picture edit?

TODD: That was a crazy experience as well. (Laughs) Our editor Kamau [Bilal] was editing overnight the rough cuts of each scene that we shot during the shooting. So we had our first actual rough cut of the film I want to say less than five or six days after we wrapped. So that helped a lot. That really expedited the initial post process. Then from there me and Kamau worked together every day for a little less than 2 months. We did one day of re-shoots and then just edited around 18 to 20 hours a day between me and him. And I want to say we wrapped around mid September and had picture lock in the beginning of February so that would be about five months.

WOODY: In terms picture cutting, did you think that was about right?

TODD: I thought it was unbelievably fast. Our ethos during the whole process was that we were going to make the best movie possible and we’re not going to have any deadlines, festival or other. I worked at Sundance that year, so I was gone for a month doing that and then we did an initial round of ADR that took two weeks, so we had about a month and a half of that five months where we weren’t cutting at all. So technically it was really more like 3 1/2 months. And I thought for that, that’s just incredibly fast for a movie that going into it with as much improvisation as we did and also leaving ourselves as much exploration room as I needed to figure things out. I thought 3 1/2 months is pretty incredible to burn through and find the story that we did. That said though, keep in mind that Kamau and I were literally editing 18 to 20 hours every day during that period. So as far as actual hours go, it’s probably not too quick compared to a regular production, but as far as actual days go I thought it went pretty quickly.

WOODY: What format did you shoot?

TODD: We shot in HD. We used the Panasonic HVX and it is 720p and stereo sound and we used the 35mm adapter and shot most of the film with either the 35mm lens or a 50mm lens. Some of our close ups, especially the outdoor stuff, we used an 80 to kind of get the faces to pop out a little more. But a lot of that with the lenses works out because of the campus. (University of Missouri, the setting for “Box Elder”) My DP and I worked together a lot in preproduction talking about different styles and the kind of things I was interested in and the films that influenced me in general. He did a great job of understanding what about those films I liked and then we were intuitively able to create similar things. So in a weird way there is not a lot of rip off shots if you will. They’re very kind of (Jim Jarmusch) “Jarmusian” and Wes Anderson like with the relation between characters and space and settings. I think it helps tell the story because the whole idea was keeping the campus as a character in a way.

WOODY: How did you do your production audio?

TODD: That’s a really good question. We had the wonderful Jesse “C-Nug” Brown who was mixing and doing boom at the same time.

WOODY: Wow, that’s always a challenge.

TODD: (Laughs) It really is. This was his first feature as well and so it was a nightmare for him but he was a trooper and he did an unbelievable job. Primarily we used a Sennheiser Shotgun and some wireless lavs as well. For a little while we were using plate mics just to get production audio around the set, but mostly we just shot with a shotgun, a boom, and tried to keep the sound as natural as possible. Our production audio was easily the weakest element going into post and that was primarily because of my inexperience, again technical inexperience. And for C-Nug this is his first feature and his first time working with any of us, so he didn’t know anybody on set. It was very hard for him to kind of step up and say “hey guys I think you need to do this” or “I think we need to do that.” He did try to do this and unfortunately we didn’t listen as much as we should have. Thank God he was a trooper about that because a lot of people know they’re right and they should if they know their job, and you’re telling them to shut up or don’t worry about it. They will just storm off or get grumpy or say “I do not want to work with these people.” C-Nug was just like you know “it’s cool, let’s do it your way, we will worry about it later.” And he never once in post when we had sound issues was like, “I told you so”. You never heard him say that one time. It was always “what can I do to help.” So we got really, really lucky to have a personality like that on set even though we kind of did not utilize him as skillfully as we should have.

WOODY: Prior to “Box Elder” had you had any post audio experience?

TODD: No I didn’t. Most of the time whoever is [picture] editing for me would do all of that for me. It’s a very interesting thing – I’ll say three of my four shorts the DP ended up doing the editing and did a lot of the sound design and the other one the editor did a lot of the sound design and sound effects and cleaned it up. I never recognized this until looking back, but in almost everyone of those processes I was in the editing room you know like twenty-four hours a day being a partner in every decision until – “now I’ll just clean up the sound and we will look at again it tomorrow.” And I can’t believe that I never once considered what “cleaning up the sound” was. It’s pretty amazing especially knowing that I would break and I would go and stay up for twelve hours and think about a new scene to shoot and the editor would stay up for twelve hours “cleaning up the sound” but I never connected on how intensively he was working on that. So my lack of experience in post sound definitely crippled the film a little bit.

WOODY: So when you began to focus in more on just the audio were you horrified, did it open more doors for you or did you see it as a chance to change the pacing or to help scenes in a way that you hadn’t prior?

TODD: That’s very interesting. In every other facet of the post-production phase I did a good job in making sure to stay creatively thinking “how can we make the film better.” How can we take this and creatively either fix it and find a creative solution or use it to our advantage and to the film’s advantage. But at that point with the audio we had tried so many things and failed so many times that I had become more lenient there than ever before. It’s either – we are going to try and fix this and get it the way I want it or we are just going to bite the bullet and do what we have to do. And that was my attitude going in. But then after working on it and focusing on it and realizing the possibilities that were still there even though we were in a time crunch, it opened up to me – we are still creating a film here! What I really look forward to on the next one is doing the post edit for the sound as a whole new other edit again. For first time filmmakers, especially in a time crunch and budget crunch, it’s a tough thing to remember that you’re not just fixing the mistakes, you’re supposed to be creative. I looked at it more as a “mistake fixing” scenario than a creative one.

WOODY: Kurosawa said something like, “Cinematic sound does not merely add to, but multiplies two or three times, the effect of the image.”

TODD: That is great. That is really good. I’m probably going to steal that.

WOODY: If you were advising other first time feature directors, do you have any advice either about the production audio or the post audio process?

TODD: For post audio I would say take half of your post budget and dedicate it to post audio. And that’s a minimum. And I would also say take half of the time you’ve allotted for post and dedicate that to post audio.

WOODY: You know a lot of people will think you’re crazy for saying that. (Both laugh)

TODD: Here’s the thing. We had a production with “Box Elder” that was the epitome of “we have one less day” or “one less … thing” than we need. And that said, throughout the whole process, from every aspect, from money to time to resources, everything, the only thing that we actually ran short on was time and money for post audio. We got away with everything else. Everything else we found a creative solution to make to make it work, make it fit. I would much rather error on the side of having too much time and too much money for post audio verses the other. I don’t think you would waddle around if you had extra time. You are already so close to the finish line. And my advice regarding the production audio is, and this is so repetitive because everyone will tell you this, but it’s the most important thing in the world. I was very well liked by my actors and my crew was very supportive but the biggest aspect of my production for me was to protect the actors, to make sure they had an atmosphere and an energy where they could create and people weren’t inhibiting that or offending them or making them feel uncomfortable or make them feel like they had to perform. And a lot of that was because of the natural energy and the creative energy and what not. But I think that the sound person, whoever is doing production sound should be defended and respected by the director in the exact same regard. Especially because it is so often that the sound person is looked at as the evil guy on set because “oh no, we didn’t get it because of this or that” or “I’m not quite ready yet because I’ve been waiting on you guys and now I have to start doing my job.” It’s definitely a job that everybody on set doesn’t really take into consideration and it’s so important. So one thing I will be doing next time out is being as conscious of my production sound person as I am with my actors and just as protective. You know C-Nug was amazing – being on set in his first feature, he doesn’t know anybody there, and it compromises that situation and makes it so much more pressure filled. I really feel like it is the filmmaker’s obligation, it was my obligation to say “Are we okay? Is the refrigerator on?” Because that way if he says “no, we need fifteen minutes” I’m on the hook. I’m the guy who makes that decision and says “you know what guys, I know we want to shoot this, we want to make the day but we need to wait fifteen minutes to get the sound in.” He’s not being the bad guy, I am. I think that is part of what being a filmmaker is all about, being the bad guy, making sure that you are the one making those decisions. Because everyone who is there, they showed up to make your film. They don’t care if they have to wait fifteen minutes – they came that day to do what you needed them to do. They didn’t come that day to do what C-Nug needed them to do. That’s not his responsibility, its mine. So I think the biggest thing for any future filmmaker is to make sure you are responsible for your sound person. That is totally your responsibility. And that was like the biggest thing that I learned- because I did not recognize that at all – I didn’t defend him at all and that should have been an absolute priority. It’s incredible to think that like I was so protective of these actors because it was their first time, I never once considered to think about that for the sound person. Yeah man what a trooper, what a guy.

WOODY: So now you’ve packed up your film and you’ve taken your show on the road. You are driving around the country, bringing your film to the masses. How did the actual tour concept come about?

TODD: I originally came up with the concept before I was actually writing the script, or it was right around that period of time. It was primarily based around my experience that I had with booking bands and concerts in Columbia, the college town I went to for school. I had a lot of success with graduate marketing and e-marketing and event planning and event coordination and event booking. I didn’t have any background in that so I was using a lot of hustling, just kind of intuitive skills to make that happen. I felt like if I could do that with bands in a small college town then I could probably do it with movies. Not too different of a business. And when I started to explore that, the difference between the two of them I found was that it really wasn’t that different of a business model. It was just that the movie industry on the distribution side of things is a lot more of a mess than the concert industry. So in actuality the situation is more stacked in my advantage to book a film in a town and make it an event than it is with a concert, which is really eerie to think about because it is such a different trade off on the financial side of things. But based on that I had a pretty large social network in different college towns and I did a lot of road trips, so I knew the country fairly well and felt that I had the right guys in place to come along with me to make it all happen, so it was kind of fundamentally based on that. And also at the South by Southwest festival there was a panel that Richard Linklater was on. It was right after he had sold “Fast Food Nation”, and they were asking him the things he was shocked by as far as new trends in filmmaking were concerned. The questions were geared towards digital cinema and how did he think technology has affected cinema. He said how he was shocked by how technology wasn’t changing cinema. He was blown away that when he sold “Slacker” at Sundance in ’91, I think it was, the same person who had sales rep’d for him then was his sales rep when he sold “Fast Food Nation.” He was just blown away that every other aspect of the industry had changed ten times over in the last sixteen some odd years but not with the infrastructure – those same people were still doing the same jobs. There just had been no change what so ever. And that to me was like, if this guy thinks that there is a problem then I am not crazy and maybe, just maybe, we have not a solution but the beginning of something. So that was just a real source of inspiration.

WOODY: And how has the tour experience been?

TODD: The tour went pretty well man, it was pretty crazy. It was a good venture. We ended up showing the film in a little over thirty-three theaters, which is a good amount for any independent film and ended up selling about nine thousand six hundred tickets or a little more than that. So, yeah, we did well with that. With that said, the whole idea of the first tour was to kind of make it a beta stage for the distribution model itself. We took a lot of risks and tried every trick in the book at cost effectiveness. We ended up spending more money than we should have, but through trial and error we made a little bit of money. We need to make a lot more, but it was good. It was defiantly an incredible thing. It was amazing to see, you know, a couple of hundred or so odd people in the theater every night watching your movie. The great thing is getting to know your fans. These people become zealots because it’s your audience and you’re doing a very direct marketing, doing a niche-oriented first hand, person-to-person target marketing. You’re picking up people who you think and kind of know are going to love the film and getting them in there and knowing that they’re going to love it is a very inspiring thing.

WOODY: So how many times did you end up watching the movie?

TODD: You know its funny. I watched it all the way through at start for I don’t know, I didn’t get sick of it until maybe half way through the tour, then I would kind of watch it in parts. Then it got so busy towards the middle of the tour that during the screenings I would be working outside the theater still trying to set things up for the rest of the tour, so I ended up not watching it for about a month and a half. Then I kind of missed it. So the last few weeks I started watching it again, which is kind of nice.

WOODY: Sometimes when I re-watch a picture I spent a lot of time with after a break I often find that I take something new and different away from it.

TODD: Totally, see that’s the best part. That was the first experience for that with me finally with the film, to see it with new eyes for the first time at the end of the tour, which is really nice.

WOODY: Many filmmakers make their project and just shop and shop and shop it hoping a sales rep or distributor will pick it up. I really admire your proactive approach to getting your picture out to audiences.

TODD: I think a lot of filmmakers and not just filmmakers there are a lot of people in the industry in general, I think it might be more of a producer/investor thing than a filmmaker thing, and they don’t make content for themselves and they definitely don’t make content to story-tell. They don’t make the content to show it to people, they make the content to either make a profit or build or progress a career in some way shape or form. So then the idea of making a film, then the plan is to sell it and the investors will make money and the producer will have a blue star on their resume and the filmmaker will get to make another film and everyone is happy. That’s the goal. Where as with us, I already had an investor group interested in making my next film before I had even started shooting this one. There was no pressure what so ever to try and get my next film made. I had no interest in progressing a career and neither did Brock [Williams - Producer of Box Elder]. We just wanted to make a film so that we could show it to people. I think that’s the other thing that didn’t necessarily play into the actual distribution model but the thing that kept it alive the whole time from like November 2005 or whatever to actually touring it, the fact that no one got in the way of saying, you know, maybe we shouldn’t tour. It’s just that we all wanted to make this film to show it.

WOODY: So what’s on tap for the next Todd Sklar project?

TODD: (Laughs) Well we are touring again in the fall. We’re going to the west coast then we are touring in the east coast and we are going to make a documentary while on tour this time. That’s going on and then summer of next year the plan is to make another film. I have a script that I wrote before “Box Elder” that’d kind of a little bigger in scale that I want to make going across the U.S. and kind of like a little road movie and hopefully a with a lot of the same people.

WOODY: Can’t wait to see it.