Posted By: Dominique H. Preyer
Music Licensing Opportunity (Indie Feature Film) - 01/22/18 03:17 AM
Hello JP Folks!
I'm currently music supervising the low budget indie film, "Call Me Brother
." I'm looking to replace the 27 songs that are currently tempted in the film with indie songs. These temp songs are from the 50s, 60s, 70s & 80s. The replacement songs do not have to have been recorded in those eras but should have the same sound and feel. If you do have authentic music from those decades, even better.
This is a low budget indie film and I have a very limited music budget to work with. The licensing fees are really low so I'll understand if you're not too excited about this opportunity and prefer not to submit.
The film has already been selected to its first film festival (which will be officially announced in March). Even if your song isn't selected, you and your music will become familiar to me and on my radar for future placement opportunities.
As always, but as a reminder, there will be a cue sheet. If you are affiliated with ASCAP, BMI, SESAC or any other Performing Rights Organization (PRO), you will have the opportunity to receive performance royalties should the film exhibit in media where performance royalties are paid.SYNOPSIS:
"Call Me Brother
" is an awkward coming-of-age romantic comedy. After years of separation, Lisa, an awkward girl in her late teens, is reunited with her brother, Tony and father, Frank for a summer weekend while her mother is on a trip. Revisiting their past, Lisa and Tony find comfort in each other in an off-kilter world. Alongside an ensemble cast of shitty friends and dysfunctional family members, we watch as Tony and Lisa grow more intimate and discover feelings that they didnít know were there.
Watch the Official "Call Me Brother
Cast, crew and production information: IMDb
Rights & Licensing Fees:
- By submitting you, and anyone with a controlling interest in the song(s), agree to the licensing fee for each song and the terms & conditions.
- This link will take you to the music brief with the cue #'s, reference song titles and artists, licensing fees, approximate duration of use, song era, scene description, song description and a link to the reference song.
- If the song(s) you want to submit is/are under contract with your publisher, label or administrator, please get them involved. You must control 100% of your song(s) in order to submit without anyone else involved.
- If there are co-writers (and no publisher, label or administrator) on any of the songs you want to submit, the co-writers must agree to you submitting on their behalf for their share of ownership (publishing & master). They need to be aware of and agree to the licensing fees and terms & conditions.
- When submitting, please indicate which song you are submitting for by using either the Cue # or the Song Title of the reference song.
- All submissions should be e-mailed to email@example.com.
- If you are submitting multiple songs for each reference song, please send them in separate e-mails or separate folders, i.e., separate Dropbox folders or send separate file transfers via Hightail, WeTransfer or similar large file transfer platforms.
- The 50s, 60s, 70s & 80s period songs do not have to have been recorded during those eras. They just need to sound like they were recorded back then.This is very important to the director.
- Only submit links (with downloads enabled) or MP3s. No WAV or AIFF formats.
- The current deadline is January 31, 2018. Please note that some songs will be decided on before the deadline which will mean there will be less songs to replace as we get closer to the deadline.
- If you do not draft your own license agreements or you do not have a representative that will draft the license on your behalf, I will draft the license agreements on your behalf. If your co-writer(s) do draft their own license agreements or they have a representative that will draft them on their behalf for their controlling interest, I will draft the all license agreements for your controlling interest on your behalf. NOTE: The pertains to ownership of both sides, publishing and master.
- License: Non-Exclusive
- Territory: Worldwide
- Media: All Media
- Term: Perpetuity
I know I went into a lot of details above. I want to give you as much information as possible here so you are well informed before going forward. If you have specific questions about this film project that I didn't cover above, feel free to post them here so everyone else can be involved in the Q&A too.
I will always post placement opportunities here but if you want to see what's on the horizon, you can visit my website at Hear It - Clear It Music Supervision
. You can read the details on current film projects and upcoming projects on the Projects
page. You can also read my Submission Policy
page so you know how to submit your music to me.
Posted By: Dominique H. Preyer
Re: Music Licensing Opportunity (Indie Feature Film) - 01/23/18 02:32 PM
Thanks for the kind words. I do appreciate it. It's always a challenge when working on these indie films.
One thing that I didn't mention before and it might shed some light on the situation. The music that is temped in the film was selected by the director over a long period of time. He actually put a lot of thought in the music that he wanted in the film and thought that he would be able to license the songs. The problem was, he didn't realize how expensive it was going to cost until I did a budget analysis. That was an eye opener.
During all that time, the producer was trying to secure funding that could have covered a majority of the existing music but the funding did not come through. This is partly what created the delay in me knowing what the music budget was going to be and being able to start looking for music..
I did, however, reach out to some of the music reps that I have long standing relationships with (some over 10 years) and I knew that they would be able to work with what ever limited music budget I had to work with. Songs had started coming in and the director has been very selective and has not made any final decisions yet. There are songs that could end up being the final song but he wants to wait to see what else comes in. I just could not go public with my music searches because I had to have a budget so I knew what I could offer.
As I mentioned in my preview post, the film festival selection is what made time a bit more of an issue. This was the main kick in the butt. It's a good kick because getting selected into film festivals is one of the goals.
My decision to come to JFP folks was not out of desperation in the looming deadline. It was because I remember helping one of our members, Glynda Duncan, and almost getting one of her songs in a film back in 2008. I decided to come back and see what's been going on here and thought that I need to become active here again and start posting all of the films that I music supervise. So that's the plan going forward.
I guess I'm so used to these situations that I don't panic or worry. After 90+ films, I've experienced good situations and some really horrible ones.
When I music supervised "Old Fashioned" back in 2014, I had started off with a smaller music budget and cleared 38 indie songs in about the same amount of time. We ended up getting a bit more funding and some of it went towards the music. It was a great experience and a huge challenge. In the end, we had a great soundtrack that complemented the film. Milan Records released the movie soundtrack album in 2015. There were 20 tracks on that soundtrack album with 12 tracks being the indie songs that I licensed for the film. The composer's score was the eight other tracks. So these awesome indie artists got their music licensed in an small, low budget indie film that almost grossed $2M at the box office and they got their music licensed again in the soundtrack album. It was great for everyone involved.
So, I guess what I'm triyg to say is, situations like this are not always as bad as them seem. And I typed way too much.
Posted By: Johnny Daubert
Re: Music Licensing Opportunity (Indie Feature Film) - 01/25/18 02:25 PM
Just a note for general reasons:
After hearing the sound quality of the trailer song, I know I do not have release ready recordings, having done everything myself. I had just gotten to the point where the audio can pass for a good demo, but is still nowhere in a release ready quality as what pro studios and those who really know what they are doing, recording wise, are producing. So, I will not waste Dominique's or my time any more.
For any other JPF: With this, I am "again" retiring from TRYING anything in music, (playing too, due to Tinnitus since 2010), for I already said I would retire last week or so, along with the fact that this year marks 40 years of TRYING in all kinds of areas. I tried all kinds of projects, appointments, movie classes at ASCAP, NY, and since 2012, session work. I was somewhat successful in doing session work for many instruments and sounds for Mike Caro and Mike Appel, in Staten Island in 2012. I then composed and recorded at home an overture version for one of Mike Appel's song, Stagedoor Johnny, in 2015. That also went "Nowhere Man".
A Brief History Of Trying:
1978: Buddy Holcombe and I joined up to start writing songs. I only "made up" on the spot some ragtime, swing, and alternative music with all sorts of influences, (20 minutes Is a Lifetime, recorded live at my home in 1974). That was played by Danny Paul, drums, Jimmy Calore, bass, and me on my parent's spinet piano. Recorded in my bedroom on a Tascam four track, but used just one, again live.
1978: Buddy and I wrote 6 songs and demoed them in a hometown studio, (very non pro). We then went to Philly studios, where Frank Virtue, of Virtue Studios, (The O-Jays and other Philly acts and hits), called me two days later, saying he wanted us to write a Superman tyle song. The Superman movie was due out soon, and Atlantic Records asked Frank Virtue to get them such a relative song to be released at the time of the movie's release. Buddy and I wrote in one hour, "Fly, Fly Away". The next day we went to the studio to have me play it on piano and sing it, knowing I would NOT be the singer. Virtue loved the song, and even started to sing along to the chorus before it ended. He was stating positive things as I even started the intro. He told us he would record it with his people and a new singer in mind. I asled if we could bring in our own players, being we always thought of out friends. He said if they are as good as you, then sure. He gave us a date to be there at 1pm. (one week).
I got one guitarist form an earlier band, and he said he was then playing with some great musicians, and would like his drummer and bass player to add to my piano and whatever else I would do in the studio. The practices went great. I arranged what each would play, since I HEAR the finished products of anything Buddy and I , or just I create. it all worked, and everyone agreed. We then went to the studio at the session date and time. Well, what I didn't know would happen, was that the that guitar player, his drummer and bass player all got coked up before getting out of their van. Buddy and I had already been in the studio before the others got there. They did seem over excited, but we thought that was due to being in a pro studio with a hit producer/studio owner in Frank Virtue.
Right away, as we got started, the drummer was speeding up, (literally too). The bass player kept pace with him. And the guitar player played Jimmy Hendrix type guitar, rather than the Disco licks and such I had played for him at the first practice, which he nailed as I knew he would. Virtue would stop the tape and yell, "what is this John"? Buddy Holcombe, my co writer, was also getting a verbal beat down in the control room, after each TRY.
We were soon kicked out, and told by Virtue that we would never hear from him again. Buddy and I were extremely mad at the guys who we gave a cool chance to, and extremely disappointed in our accepted song now NOT going anywhere. Atlantic Records is no joke. Missed Pro Opportunity IN OUR FIRST YEAR writing! And, it was my first year at writing pop songs. I was just starting to learn how to write lyrics, from Buddy, and knowing how The Beatles wrote. oh well, right? There WILL be other opps ahead, surely, in this, our first year of TRYING.
About 11 years worth: Through those nest years, we wrote a lot more more, started to edited a lot more, and recorded just on my normal one track cassette recorder/player. We would later record on gear My wife and I bought for $5,000. Soup to Nuts! I wanted our songs to sound as IF a band, for we would hear everything that we felt SHOULD be in there. Well, after one day, I took it ALL back when being overwhelmed by the technology of Sequencing. What the hell is THIS? What does that unit do? Huh????? The music store asked to spend an hour with me before unloading the gear. I did, and took the gear back home. I soon was on fire with recording ALL those tracks, and mixing down on bounces and so on and on.. I was now able to BE a horn section, a string section. The bass and drum player, (as I always played them all on real instruments as a kid on).
We sent songs and lyrics sheets to publishers, (after submitting request letters). I read the books, and did what was said, (unlike what I did for Dominique). Got lazy with the limited time I had for time on the computer that day. STUPID, and I KNOW better. Anyway,,,,
1992: Nashvile: Through one studio we took a demo to, to see if they had artists who needed a song or two of ours, (which they did, for a Past Miss Delaware to take to GUAM)!,,,,The owner called a friend in NY, who worked at Warner Chappel, who listened to a song on the PHONE, with then that NY Rep said she would set up an appointment in Nashville at the Warner Chappel main office, for she too, like the studio owner loved this one Country song, "Where Does The Love Go" (When You Turn an' Walk Away"), sung by Ariel Caten for us, who a few years later wrote an album cut song for Faith Hill. (Castles).
Well again, Buddy and arranged to take of work, drive 800 miles, to go over our song with the HEAD A&R Rep! We hardly slept the night of that drive in a small motel, the night before the appointment. Us stupid Northerners, although Buddy WAS a Southener before, thought it would be COOL to buy cowboy boots, and a HAT! We couldn't afford the real deal in a hat, so we bought FELT hats! That's how excited we were to have such a HUGE appointment with thee biggest publisher alive! We couldn't THINK reasonably. We got the office, knocked on the door. A girl came and talked THOUGH the glass door if we had an appointment. We gave our name of "Daubert & Holcombe", then after she found us on her list, she beeped us in. She said to have a seat and she will let Mr. ???? Know that we are here. Imagine that! Some big wig was going to get the notice that WE HAVE ARRIVED! This was our second major chance of having "something" done! We were BORN to be in that waiting room. To be shown into the office of this BIG WIG Publisher! It's HAPPENING!!!!
Then,,,,,,,,, The A&R head Rep came to greet us, with us three standing close to each other after shaking hands. He asked for the tape. he THEN said, "Ok, if I think we can use what is on this tape, WE'LL GIVE YOU A CALL". I thought,,,,what? What's happening? No sitdown? No talking about WHO is going to sing our lead song? NO BIG contract to take to a lawyer/ NOTHING???? JUST a handshake and that exiting statement? That's IT????? I mainly JUST see the back of that man's suit. It was a medium brown, with specks of other earthtone colors. It just walked away, not even the man. Just that moving back of his suit. Like our song asked, Where Does The Love Go, (when YOU turn and walk away?) Buddy and I then looked at each other, and didn't say a word. We simply turned and,,,,,,yep, walked away. That was it. No answers. Nothing more known. Just such an empty feeling of what the FK just happened. For what happened in our minds right then was a Big Fat Nothing. We knew what that statement meant. For whatever reasons that Head A&R Rep had, h was NOT interested in doing anything with these two strangers on their first day in town. (We didn't hear anything, of course). I called that office a week later, and it was if we were never there. "Im sorry, John, I have no news to give you,,,,have a nice day". Click!
That was 25 and a half years ago. So, the next 25 and half years were filled with much the same, except for some fun times with Brian Austin Whitney at his showcases I requested to close, for which he kindly granted that for me, (playing my song, "Too Little Time" at most of them). That was success with the business end being needed.
But, all other TRIES of this and that? The words of This and That about our songs. Mike Appel's words of GREAT, and, "I've recorded the E Street Band, and never had a musician like you in the studio". For I was a HOG of wanting to create and play everything. My studio arrogance was actually needed, for Mike Caro at the time was ill, and could have created and played everything with even more STUFF! So, I had a mountain to climb and get over. I guess I did, BUT, I then and since needed business success, for being taken out of my 35 REAL career of tuning pianos via chronic Tinnitus and Hyperacousis, as The U Of Penn labeled it. I had tuned over 10,000 pianos during all the time of the above accounts and much more not written about here. (1976 till 2011). NO SS for not being able to tune pianos. That craft/job is NOT on their list, so "No payments for you, forever"! (Ref: Soup Nazi on Seinfeld).
So, after many more tires of all kinds of jobs, projects, etc in music, which the many recent recordings of mine really took the Tinnitus to a whole other level, I am left to regretfully STOP TRYING. It's that simple, and that hard. It of course has me depressed over not having anything to give Cindy for ALL those years TRYING. Nothing to pass down except the songs, which my family already has heard too many times.
Turning 65 on this past 11th, and getting a surprise PRO Telescope from my daughter, who didn't know I had announced my retirement here days before, is where my sights are going to be looking through. It's one that has a Equatorial Mount, so I am encouraged to TRY to become an amateur hobbyist astronomer. Nothing to shoot for except the stars, as before. But this time, with both feet on the ground, and one eye on the real stars.
It's tough lately. I get so emotional about it ALL. All the TRIES, the almosts. But the fun times seem now left in the time of having those fun times. It was a lot more fun THEN, for all of the thens. For now, I am left with the results, and the questioning of what could I have done better to have had more of a chance of making music a career, s the fun was a given. Fun lasts for the thens, it seems. Fun now would be to see Cindy have a much easier time of the bills, and for the times with me. I fake smiles often. I never had to do that before. It's a mixed bag of everything now. Back and forth. Yes, it was great and worthwhile and fun, etc. And no, I didn't take care of the pro things I should have been doing better, as in Dominique's request. it does seem fitting I go out with that reminder of how I can sometimes be stuck in my creative side of the brain, and be lost in it.
I welcome all JPF "stories" of their life's ups and downs. Thank you for you time in all this. I just wish I was in better shape all around, to bring more positive things here. I felt I should be honest though. It hurts now, and I don't like it. But, I feel I gave it ALL in the past 40 years.
Decide whether for you all it's a hobby or you want to do the good, college TRY to make a go at some type of "music career". If the later, I sure hope you succeed at some level. Those 10,000 piano tunings killed my ears, along with some amps and drums, of course. But, the LOUD banging a tuner needs to do to SET The Strings, is a killer. Don't tune pianos!!!!!
Thank you again,
Posted By: Johnny Daubert
Re: Music Licensing Opportunity (Indie Feature Film) - 01/26/18 05:09 PM
Thank you so much for such a thoughtful letter to me. Means a lot.
As I was reading your thoughts on affecting others, I was instantly reminded of a 15 year old English girl, Kate, who wrote an actual letter after finding my address, and said my songs gave her hope, and stopped her in her tracks form committing suicide. She had been overweight, and with pimples and such, and had no friends to go to. She soon found enough hope to tell her mother she was going to move to be with her dad, to start fresh in another town and school. So, I sure do know what you mean, by affecting others. Thank you for reminding of Kate. (Back around 1932, my dad finally found a foster mother that "cared", and took him in for good. Her name was also Kate. We all called her Aunt Kate much later on in the 50's and 60's. Weird how that 15 year old girl in England, (where my Aunt Kate came from before coming to the US), were named the same, and both were from England.
The thing now is, I have nothing coming in to help Cindy, who works full time still, (25 years at one big company). It's those thoughts of mine that leads to regrets for not doing things that would have led to a retirement package, or at least to have some small royalties coming in, to represent that I did "something" for our household and for less stress on Cindy paying bills. The Tinnitus took me out of my 35 year piano tuning career with no savings, and took me out of the band, or all bands now. Talking on the cell to others causes heightened Tinnitus. I tried getting all kinds of jobs since 2011. In person, online. Nothing. It's the NOW end result of not able to help put money wise that I am mostly regretful for, for all my actions led up to this current situation of being a failure in that respect. BUT, I do get all that you said. So, thank you again, and I will try to keep your slant on things in my head more than not.
Thank you, Everett! I hope all is good with you and family. You're a good man!
Posted By: Johnny Daubert
Re: Music Licensing Opportunity (Indie Feature Film) - 01/29/18 07:49 PM
Find the right slot and send too little time as well as more than a memory... they are background songs, you're very Beatlesque and both of those songs are solid even if the recordings aren't what you want... it was the best you could do and there's no shame in that!
Thank you, Brian! I have found many such "slots" for those and some other songs, that would fit into certain projects. ALL form the last few years wouldn't even send a request return to say , Not Interested, (EXCEPT for one), who was Peter Asher, from Peter and Gordon. Peter three times got back to me in conversation, but explained he could not review anyone's music, book, or anything he would be asked to review. The reason he gave: He is so busy with all he is doing in his Sirius Beatle's station show, ("From Me To You"), and all esle in touring, and family time, that he simply wouldn't be unfair to others if he reviewed anything for one person. I of course accepted that reason, and we continued to talk Beatles and other related topics. He, like Sir George Martin, who as you know from our Regent Theater Showcase, wrote back to me explaining why he also couldn't listen to anymore songs from anybody, (minus Paul and Ringo, of course).
But the hundreds of TRIES by me in requests emails? As John Candy said in the "Planes, Trains and Automobiles" movie while siting in his burnt out car, "No, Not A One"!).
Seems many if not all maybe have their close network of composers and such that they call on. I know first hand how our Sony Pictures/ASCAP selected score for the Top Indie Scores In The USA was suddenly scrubbed by a student director at Regent University, (another Regent), JUST from her later wanting her best friend to ONLY play flute through the entire short film, ("Confined By Silence"). Even the Head Professor of that department said to me on the phone, "We have to let our students even make mistakes on their own". That professor knew what I created and played. he told us to send it to everywhere we could. As you know, Ascap in NY, on behalf of Sony Pictures, called me at home after our late submission was reviewed by Sony Pictures, to still select that score and theme song. They created another spot just for us. (Was supposed to be only 12 winners to score for a Number One Selection AT Sony Pictures in LA, with a NEW score for their orchestra to play under my conducting). We were the lucky 13th! Right? Ha! Unlucky in a way, it seemed. WAS our best shot of becoming insider composers, to maybe then have a chance for real challenging WORK. Couldn't afford to go to LA for two weeks. Tried to raise money in three weeks to pay for flight, room and food for two weeks, while loosing two weeks of day job pay. Credit cards were already beyond maxed from all kinds of music gear and other trips and such. Our Wives still said to GO if we got any funds to pay for what was needed to get there and eat and sleep. Buddy and I still get a, "THAT was our real chance" feeling when talking about our days of TRYING.
So, I HAVE tried many, many avenues for those two songs, and others, when I saw fit to try this and that. Just that NO ONE except Peter Asher and Sir George Martin got back to me. I even LIKED their No's! At least we heard why. Same goes for our JPF Dominique. He didn't have to explain here, yet he took the time to do that. NOT others, other than the two I mentioned. Seems not too many kind people are in the music business. How long does it take to reply, Go AWAY!?
Brian, I am in process of TRYING to retire such tries anymore. How many non replies and such can one want to keep happening after 40 years? I played the Spectrum in Philly on a nine foot Steinway with The Philadelphia Orchestra with the band I was in. I played with Chuck Berry. Played The Kimmel Center in Philly on organ by being asked by Mike McCourt on behalf of Jerry Blavet, the show's producer. (An Oldies Review, with the old Frank Sinatra's horn section, (with who my friend, Jimmy Calore played trumpet WITH them! I won the ears of Springsteen's producer, Mike Appel, for playing many instruments for most of the parts on 7 of his songs, for which I only heard right before me saying, "Lets Record Everything" as I learn the song while trying things on piano first. I got so used to knowing what was coming next, I sometimes tracked parts while hearing the song for the first time. And NOW? I can't get work of any kind? For a few years now of constantly trying? Is why when I turned 65 two weeks ago, I thought, I now rather just play as a casual hobby, and not try to demand being heard or to be tried out. Again, NO ONE replied to even say "Go Away"! lol
Oil Well, this was deep!
Thanks again for being such a great supporter, and in my corner. Much appreciated! Wish you were also a working producer! LOL And not one that BS's much of the time.
Onwards and Upwards, DESPITE! (we ALL have to, right?)