If a group no longer exists, who should you contact in putting their music in your movie? For example, if you want to use Creed... what should you do?
if you're not the producer then you should contact nobody because that's not your job to do so.
i assuming you're a writer btw.
i assuming you're a writer btw.
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The music publisher... the band's agent... the record label... whoever has the "written by" credit... whatever name or contact you can get your hands on.
But music costs money. If you're making your own film, or working with an indie, going after a particular track on a whim could break the budget.
If you're writing a spec script, better to be non-specific, "Bob cranks the volume up and headbangs to heavy metal thrash."
-Derek
But music costs money. If you're making your own film, or working with an indie, going after a particular track on a whim could break the budget.
If you're writing a spec script, better to be non-specific, "Bob cranks the volume up and headbangs to heavy metal thrash."
-Derek
I can't just have any generic piece of music in my screenplays. Music sets the tone and feeling for them. It helps with emotion depending on what it sounds like and what the scene is really about... Try listening to a movie without ANY music whatsoever and see how boring it is.
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This is an amateur argument that leads your scripts to the shredder. You have to realize that YOU AREN'T THE DIRECTOR.
You can't say, "oh, I just have to have this precise cut or my golden vision will fail" or "this character can only be properly portrayed by Brad Pitt" or "it has to be filmed in Lacagia Falls High School because that's my vision".
You don't say "1966 Barracuda with hemi-head and lake pipes and 3 inch channel" instead of "ostentatious hotrod". You don't say "wearing a midnight blue Dior chiffon gown". And you don't call out a cut of music.
They have a guy who is paid to do the music. You see his name in the credits. They don't much give a shit what you think should be playing in the background because you aren't making the movie and they are.
dpaterson's suggestion is the way to think not only about music but details in general.
It's a bitch, but there it is. We live with this stuff. Or we don't.
You can't say, "oh, I just have to have this precise cut or my golden vision will fail" or "this character can only be properly portrayed by Brad Pitt" or "it has to be filmed in Lacagia Falls High School because that's my vision".
You don't say "1966 Barracuda with hemi-head and lake pipes and 3 inch channel" instead of "ostentatious hotrod". You don't say "wearing a midnight blue Dior chiffon gown". And you don't call out a cut of music.
They have a guy who is paid to do the music. You see his name in the credits. They don't much give a shit what you think should be playing in the background because you aren't making the movie and they are.
dpaterson's suggestion is the way to think not only about music but details in general.
It's a bitch, but there it is. We live with this stuff. Or we don't.
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For what it's worth, I think that's a valid point.
But... if a scene needs music, in fact a particular piece of music, in order to actually work... well, you can see where I'm going.
-Derek
Strongly agree. Your script cannot rely on anything to emphasise its meaning, power, value other than the (your) words on the page.