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Music Licensing and Making Movies

Making films and providing music for soundtracks go hand in hand. Indie filmmakers and indie music producers are starting to connect more and more. This is a really cool thing happening right now. Indie filmmakers want quality music for their projects, and indie music labels want more exposure for their artists. Cross-promotion is what makes working at the independent entertainment level really happy.

The reality is that an independent film won’t be able to swing the music licensing costs of using a song by the Rolling Stones or Jay-Z on their soundtrack. I bet every indie filmmaker has thought about how bad it would be to use a certain song in their film. Personally, I would like to use the horror film Rolling Stones – Sympathy for the Devil, the horror film Psoro as a producer.

That’s just not going to happen on an independent film budget. This is why indie filmmakers and indie record labels are starting to team up. Greedy on an indie level makes no sense to me. He shifts day and night between working on studio-backed films and independent films fueled by sweat equity. That’s why I like to go out into the streets, so to speak, to find music for soundtracks.

Reaching out to music artists and music producers with independent labels is a good way to get killer tracks that will add production value to your finished film. It works differently when music artists approach indie filmmakers with their creative products. The truth is, we all need exposure in the entertainment industry. Without it, your career ends in a bloated ditch with flies hovering around it and a kid poking the corpse with the crappy end of a stick.

For the movie purists who might be reading this, I’m not in the business of scoring movies. It’s a different beast for me. This focuses on pre-made tracks that can be used in the opening and closing sections and in certain scenes, like Quentin Tarantino in his films. Sometimes the music has the same effect as the visuals. Licensing music doesn’t have to be complicated and doesn’t have to put you in an empty pocket.

When you’re an independent film producer, you have to make things happen. It feels so damn good to shoot a movie and start post-production. It’s better to get the music licensing deal done before you go into a scene. Film editors can tone down certain tracks that you will use. This way, the finished film will be the best possible with the resources used to make it.

If you meet an independent record label or artist, email them about using one of your songs in the film. This may or may not cost you some money. One thing is certain, the Rolling Stones or Jay-Z record labels are not worth anything they would charge for music licenses. There is always another side to the entertainment industry. You may be approached by a record label or artist who wants to submit their music for use as a soundtrack.

It works. To keep things even and clear, do what you’re going to do as a producer. Send them the terms of the music license agreement in advance. Let them know that their number may not be used at all. There’s some crap that happens when editing a movie that can change where their music plays. When they use their music, give them proper credit, including the authors, artists, and any other information they want to know about the track.

Times change. It’s not always the indie filmmaker who has to pay the music label. I learned about a shift where the publisher sometimes has to pay the production company. It’s like product placement. The best music licensing deals for me are the pay it forward type. No money is exchanged. The swap is a good faith effort to cross-represent the film and music. I’d love to see a new music artist debut from a movie I made, and vice versa.

I’m not in the entertainment business to rip anyone off. I don’t want to screw you up. Writing, directing and producing films is a passion that will never die as long as I’m here. I appreciate what music adds to each scene of a movie. I’m working on finding the finished tracks for the horror film Psoro. Director Wayne Daniells and visual artist Paul While work hard to deliver shocking gore. I’m working on delivering music that makes this a cult classic. It’s indie filmmaker Sid Kali, who’s entering dacoity music licensing.

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