Recording - January 2013 - 51

JANUARY 2013 TAXI Road Rally 2011

Meet the Houlihans, Part 1
Moderated by Michael Laskow
John Houlihan – Music Supervisor and Composer Kevin Houlihan – Composer, Songwriter, Music Supervisor and Coordinator Julie Glaze Houlihan – Music Supervisor, Music Editor Patrick Houlihan – Composer, Music Supervisor, and V.P. of Music at Fox Films It’s really rare to find a family where most of its members are in the music for Film and TV end of the business. The Houlihans are just such a family, and they share their wisdom in this interview from the 2011 TAXI Road Rally. John, can you please give us a description of what a music supervisor does. I know this is kind of a basic question, but people have misconceptions. So tell them what a supervisor does, and what he or she is responsible for. John: Basically, obviously, anything related to music in a script or in a show would fall in the realm of the music supervisor. Generally, we get on board before a film starts shooting. We break down the script, and if it says, “Scene 20: Bill sings ‘Happy Birthday,’” that’s a publishing clearance, and that’s something we have to figure out and make sure the budget’s there and lock it down. So we take care of any on-camera music-related issues. A lot of times you would figure out what band is going to play and get a pre-record down. All this is just helping the director meet their vision. You’ve got to get everything through a group process of about six or eight producers and film studio executives. So it’s kind of like meeting the small group process to try to make all the music decisions, and hopefully, everybody gets on the same page. Then, once you go into post-production, music supervisors work on the “temp” score and feeding the music editor and the film editor score from some other films to temp in and try to find the “voice” of the underscore of the film, as well as continuing the put the songs in the spots. A lot of times we are involved in helping solicit the record company for a soundtrack album.

John, Julie, a cardboard cutout of Patrick, Kevin Houlihan, and TAXI’s Michael Laskow pose for a shot after their panel at the 2011 TAXI Road Rally. Patrick was on a family vacation, so he joined the panel via telephone from Martha’s Vineyard, and we used the cardboard cutout to fill his seat on the panel.

Soundtracks kind of had their heyday around the year 2000, and then they went away. They are coming back a little bit now. So we would kind of be the liaison between the film or the TV show and the record company, trying to get all their artists in. Does the record company pay the production company or the film company some sort of fee to be the exclusive label for that soundtrack? John: It’s very rare that the label will pay an advance these days, but it does still happen. I know on the movie Hunger Games—which is in production right now—there was sort of a buzz, and there was a good old-fashioned bidding war for the soundtrack rights. And I know that they got a significant amount of money advanced from the label that won it, that the film studio was happy to get, because that money goes back into their licensing budget war chest, and that’ll

help them raise the scope of the music in the film. But a lot of times it’s more like a trade-off: “OK, we’re gonna do the soundtrack for this film or TV show, and we’ll co-finance the deal with you, we’ll pay for a music video, and we’ll deliver…” But the record label doesn’t control publishing rights. So it’s kind of a group effort to pull it all together. When you do have a soundtrack label involved, it’s important that the filmmakers understand that they’re going to have somebody else’s arm reaching in your movie and really trying to force their songs in there are put pressure on the film studio. “We’re not getting enough in there. We might pull out, and then you won’t have a single.” And you have to get in the middle of that? John: Oh yeah. A typical situation would be for me to meet with the director and him to say, Continued on page 52
51



Table of Contents for the Digital Edition of Recording - January 2013

Recording - January 2013
Fade In.
Table of Contents
Talkback.
2012 AES Convention Report.
Universal Audio Apollo.
ADAM Audio F5 and F7 Monitors.
Earthworks ZDT 1022 Mic Preamp.
Trident HG3 Close Field Monitoring System.
AKG K702 65th Anniversary Edition Headphones.
Grace Design m903 Reference Headphone Amplifier.
Monitors & Monitoring.
Lauten Atlantis FC-387 Condenser Microphone.
Recording Fundamentals. Chapter 13: Monitors Part 2.
PreSonus BlueTube DP V2.
Getting Into Your Head.
Shure SE215 Sound Isolating Earphones.
Readers’ Tapes.
iOS Music Tools: Last-Minute Audio Gifts!
Sennheiser HD800 Headphones.
Advertiser Index.
2012 Annual Index.
Fade Out.
Recording - January 2013 - Recording - January 2013
Recording - January 2013 - Cover2
Recording - January 2013 - 1
Recording - January 2013 - 2
Recording - January 2013 - 3
Recording - January 2013 - Fade In.
Recording - January 2013 - 5
Recording - January 2013 - Table of Contents
Recording - January 2013 - 7
Recording - January 2013 - Talkback.
Recording - January 2013 - 9
Recording - January 2013 - 2012 AES Convention Report.
Recording - January 2013 - 11
Recording - January 2013 - 12
Recording - January 2013 - 13
Recording - January 2013 - 14
Recording - January 2013 - 15
Recording - January 2013 - 16
Recording - January 2013 - 17
Recording - January 2013 - 18
Recording - January 2013 - 19
Recording - January 2013 - Universal Audio Apollo.
Recording - January 2013 - 21
Recording - January 2013 - 22
Recording - January 2013 - 23
Recording - January 2013 - ADAM Audio F5 and F7 Monitors.
Recording - January 2013 - 25
Recording - January 2013 - Earthworks ZDT 1022 Mic Preamp.
Recording - January 2013 - 27
Recording - January 2013 - Trident HG3 Close Field Monitoring System.
Recording - January 2013 - 29
Recording - January 2013 - AKG K702 65th Anniversary Edition Headphones.
Recording - January 2013 - 31
Recording - January 2013 - 32
Recording - January 2013 - 33
Recording - January 2013 - Grace Design m903 Reference Headphone Amplifier.
Recording - January 2013 - 35
Recording - January 2013 - Monitors & Monitoring.
Recording - January 2013 - 37
Recording - January 2013 - 38
Recording - January 2013 - 39
Recording - January 2013 - Lauten Atlantis FC-387 Condenser Microphone.
Recording - January 2013 - 41
Recording - January 2013 - Recording Fundamentals. Chapter 13: Monitors Part 2.
Recording - January 2013 - 43
Recording - January 2013 - PreSonus BlueTube DP V2.
Recording - January 2013 - 45
Recording - January 2013 - Getting Into Your Head.
Recording - January 2013 - 47
Recording - January 2013 - 48
Recording - January 2013 - 49
Recording - January 2013 - Shure SE215 Sound Isolating Earphones.
Recording - January 2013 - 51
Recording - January 2013 - 52
Recording - January 2013 - 53
Recording - January 2013 - 54
Recording - January 2013 - 55
Recording - January 2013 - Readers’ Tapes.
Recording - January 2013 - 57
Recording - January 2013 - iOS Music Tools: Last-Minute Audio Gifts!
Recording - January 2013 - 59
Recording - January 2013 - 60
Recording - January 2013 - 61
Recording - January 2013 - Sennheiser HD800 Headphones.
Recording - January 2013 - Advertiser Index.
Recording - January 2013 - 64
Recording - January 2013 - 65
Recording - January 2013 - 66
Recording - January 2013 - 67
Recording - January 2013 - 68
Recording - January 2013 - 69
Recording - January 2013 - 2012 Annual Index.
Recording - January 2013 - 71
Recording - January 2013 - Fade Out.
Recording - January 2013 - Cover3
Recording - January 2013 - Cover4
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