They Sing Or Play Music For Money On The Streets Music Licensing and Making Movies

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Music Licensing and Making Movies

Filmmaking and securing music for soundtracks go hand in hand. Indie filmmakers and indie music producers are starting to connect more. It’s an amazing thing that’s 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 really makes it work at the independent entertainment level.

The reality is that an indie production can’t afford to pay music licensing fees to use a Rolling Stones or Jay-Z song for its soundtrack. I’m sure every indie filmmaker out there has thought about how bad it is to use a song in their film. Personally, I would like to use the Rolling Stones – Sympathy for the Devil as a producer for the horror film Psoro.

That doesn’t happen on an indie budget. That’s why indie filmmakers and indie record companies are starting to come together. Greed at the indie level makes no sense to me. Working on studio and indie films, working day and night on sweat films. That’s why I like to go out on the streets and find movie soundtracks.

Connecting with indie label music artists and music producers is a good way to get killer tracks that add production value to your finished film. When music artists connect with indie filmmakers through their work, it works the other way around. The truth is, we all need exposure in the entertainment business. Without it, your quarry will end up in a swollen ditch with flies buzzing around it and a kid poking a corpse with the crappy end of a stick.

For the film lovers reading this, I’m not talking about film scores. This is another wild animal for me. It focuses on already finished songs that can be used to open and end the film, like in a Quentin Tarantino film. Music can sometimes have the same effect as visuals. Music licensing doesn’t have to be complicated or empty your pocket.

When you’re an indie film producer, you have to do everything. It feels great to shoot a movie and start post-production. It’s best to sign a music license agreement before you cut a scene. Movie editors can decode some of the sounds you intend to use. It makes the most of the resources you use to create your finished film.

If you come across an indie record label or artist, email them about using one of their songs in your film. It might cost you some money. For one thing, the Rolling Stones or Jay-Z won’t come close to paying record licensing fees. There is always a downside to the entertainment business. You may be approached by a record company or artist who wants to include your song for use in a movie soundtrack.

It works. Do what you’re going to do as a producer to keep things smooth and straight. Send them the terms of the music license agreement in advance. Let them know that their route may not be used at all. It’s crap that you can change where their music plays while editing the movie. When using their music, give them a proper review that includes the writing, performance, and any other information you want to know about the song.

Times are changing. An indie filmmaker doesn’t always have to pay a music label. I’m learning about the shifts that sometimes music labels have to pay production companies. It’s like product placement. For me, the best music licensing deals are the pay-as-you-go type. No money is exchanged. What was exchanged was a good faith effort to promote both film and music. I would love to see a new artist come out during a film I produce.

I’m not in the entertainment business to fool anyone. I don’t want to confuse. Writing, directing and producing films is a passion that will never die as long as I’m here. I appreciate the music they add to each scene in the movie. I’m working on finding the finished soundtrack for the horror movie Psoro. Director Wayne Daniels and illustrator Paul Weiss work hard to deliver a shocking thrill. I’m working on delivering the music that makes it a cult classic. This is indie filmmaker Sid Kali.

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