Recording - June 2021 - 62
Continued from page 61
union show under a SAG contract, a $250,000
budget is down at their bottom tier. I've made
movies that size. It's extremely hard, but it can be
done.
The next tier goes up to $700,000, so there's a little bit more room for effects and things like that.
The last feature film that I did fell into this category, so we had a lot of great sets, we had a few
name actors in that one, and it allowed us to kind
of expand out and get some more quality into the
film. And then from there they go up. I haven't
tackled the million-and-up budget yet. I haven't
figured out what kind of investor is looking to
spend that kind of money yet, but that's hopefully my next step. We had a little bit of
momentum coming off the last movie, because
like I said, Covid shut everything down.
But that's kind of the realm. It's interesting,
because there's this middle ground between...
Rich people can lose $100,000 at the end of the
year as a tax write-off, so you can find investors
" Rich people can lose a $100,000 at
the end of the year as a tax write-off,
so you can find investors that are willing to give you a $100 grand to just
kind of clear it off their thing. "
-Bernie Stern
that are willing to give you a $100 grand to just
kind of clear it off their thing. So indie films a lot
of times will get made by these investors, and I
can't wait until I'm in the position that I can just
lose $100,000 in December. [Laughter] That's
gonna be a really great day. But you don't find a
ton of people that are looking to clear a million
dollars' worth of tax liabilities, and don't have
any opinions about what you make with it.
So, it's a little bit difficult to kind of jump from
one to the next without having a very recognizable actor in the film, or some other piece like
that.
Do they want the recognizable actor because they
think it ups the chances of making their investment
back, which they may or may not care about? Or do
they want the actor in there so they can tell their
other wealthy friends that they have made a film
with XYZ actor?
It's a little bit of both. Again, for the $100,000 to
$500,00 movie, a lot of it is just, " I'm already rich.
I have houses and boats, and I just want to want
to walk the red carpet. " So, there are a lot of
investors that come in for that reason. On the
62 RECORDING June 2021
higher level, you want that recognizable face and
name so that you can sell the film. And once you
get into the $750,000-to-a-million-dollar range,
making the profit back becomes a much bigger
conversation. No one really knows how to do it,
and right now it's an extremely awkward conversation. Because there used to be this like
high-risk/high-reward idea of, " OK, you if we
make an awesome movie and we have a good
name in it, it could get a theatrical release. " Even
if it is not a studio movie, it could potentially get
a theatrical release. But right now, there are no
theatrical releases at all, so there are no movies
planned.
So, you know, convincing an investor that we're
definitely gonna make a profit selling to Netflix or
Amazon, and they're [Amazon and Netflix] are so
inundated with content that they don't have to
pay as much that they've once paid for an indie
film. So, it's just a little bit tricky to kind of figure
it out. But, yeah, taking photo ops on-set and
going to dinner with a star is certainly a way to
court investors.
So, what portion of a half million-dollar budget
would be allocated to music?
That's a great question. It is as much as we can
get into it, is usually the idea. I have yet to be on a
film that was able to spend more than $25,000 on
music on all the budget levels that I have been at,
unfortunately. It is extremely sad. That's why the
conversation about post-production is the trickiest one at these budget levels, because you have
best intentions when we start, and you allocate as
much money as you can to post-production, and
then there's overtime and fees, and then there are
some prop rates, and then a camera goes down.
Something happens, and then you start borrowing from the first budget just to get the movie
filmed, and then by the end of it it's like, " Oh,
now we've got $2,500 for the entire soundtrack. "
It's extremely tricky to do it that way.
Poor musicians and music. Always the bastard
stepchild, it seems.
Right!
Talk to me about bigger movie budgets. Let's get a
little perspective there.
I want to say there was a couple hundred thousand dollars spent on a movie like Baby Driver,
getting all of the songs into it. If a film is
extremely music-heavy, it could be five, 10 percent of the budget going towards music. So, you
have movies like that where you know going in
you have to get the songs, so it's gonna be a much
higher percentage. But, yeah, it ranges. I mean,
you can spend anywhere from $5,000 to $25,000
to $100,000 on a single song. And if you're using
it multiple times, it can get extremely expensive
for a recognizable... again like that AC/DC song,
that big song.
So, let's say that somebody's got $150k allocated for
music like in a mid-sized, bigger-budget film. And
the person who put up most of the money, or somebody in a position to make this kind of decision, or
this kind of demand I guess would be a better thing.
It's like, " Yeah, I really want that Rolling Stones
song. " Maybe I'm reaching too high, but, you know,
they want something in there that's gonna be...
They get a $150k budget, and they want a $100k
song, and I'm sure that makes the producer go, " Oh,
crap, there goes my music budget so I can make this
person happy with just one song. " But it happens,
right?
Sure, it does. Absolutely. I've been lucky enough
not to have that exact thing happen from an
investor side. I did literally just get a text from the
director about the movie I'm about to make: " I
know we have a small music budget, but do you
think you could get 'Don't Stop Me Now' for the
final fight scene? " No, not even a little bit can we
get that song at all. " Well, maybe? " Sure, I'll make
a phone call and find out that it's never gonna
happen.
Telling your director " no " is a big part of producing in general, because you want to be able to say
" yes " to everything that they're asking for, but
that isn't always possible.
So, when you and I went to lunch a few months
ago-we were talking a lot about royalty-free, and
I was expressing my personal frustration with the
fact that so many indie-film producers that I have
reached out trying to get them to run listings with
TAXI, and they say, " Oh, I get my stuff from a royaltyfree library. I subscribe and it's like a couple hundred
bucks a year for all you can eat. " The producers actu-
" I want to say there was a couple hundred thousand dollars spent on a
movie like Baby Driver, getting all of
the songs into it. "
-Bernie Stern
ally think that if they don't use royalty-free music
that they themselves are going to have to pay the
royalties every quarter, like they're going to have to
dip into their pockets to pay royalties.
So that's why I originally, when I went out to lunch
with you... I've got to say you were impressively
polite and open-minded at that lunch. You really
didn't know TAXI. Actually, that's not true; your
brother's girlfriend, if I remember correctly, is
Mandy-whose last name I won't use right now-
but she's like a big-deal music supervisor now. And
we've known her since she was kind of a puppy in
the industry, so she was able to tell you, " Yeah,
these guys are for real. "
Anyway, why wouldn't producers reach out to TAXI?
Continued on page 65
Recording - June 2021
Table of Contents for the Digital Edition of Recording - June 2021
Fade In
Fast Forward
Plugin Outlet: Accusonus ERA 5 Pro Bundle
Arturia KeyStep 37
Soundware Showcase: Spitfire Audio Originals Mrs Mills Piano
Richard Barbieri: Living under a spell: interpreting dreams through texture
Erica Synths: SYNTRX Analog Synthesizer
Moog Sound Studio: Mother-32 & DFAM Analog Synthesis Experience
Patch & Tweak with Moog from Bjooks
Plugin Outlet: NUGEN Stereoizer Elements
Inside the Studio with Mark Hornsby: A little summin, summin!
Eventide: H9000 Next Generation Harmonizer (Part 2)
Reviewed & Revisited: Steinberg Cubase Pro 11
Radial Engineering: EXTC Stereo
Inside the Box with Joe Albano: Working In Multiple DAWs
Reviewed and Revisited: PreSonus Studio One 5.2
Plugin Outlet: Focusrite FAST Plugins
Session Log: The Angelheaded Hipster, Part 6: Plugins
Plugin Outlet: BOOM Library EnRage
Reviewed and Revisited: Modarrt Pianoteq 7
Readers' Tracks
Reviewed and Revisited: Ableton Live 11
Plugin Outlet: Waves Vocal Bender
Fade Out: Spaceship Syndrome
Recording - June 2021 - Intro
Recording - June 2021 - Cover1
Recording - June 2021 - Cover2
Recording - June 2021 - 1
Recording - June 2021 - 2
Recording - June 2021 - 3
Recording - June 2021 - Fade In
Recording - June 2021 - 5
Recording - June 2021 - 6
Recording - June 2021 - 7
Recording - June 2021 - Fast Forward
Recording - June 2021 - 9
Recording - June 2021 - Plugin Outlet: Accusonus ERA 5 Pro Bundle
Recording - June 2021 - 11
Recording - June 2021 - 12
Recording - June 2021 - 13
Recording - June 2021 - Arturia KeyStep 37
Recording - June 2021 - 15
Recording - June 2021 - Soundware Showcase: Spitfire Audio Originals Mrs Mills Piano
Recording - June 2021 - 17
Recording - June 2021 - Richard Barbieri: Living under a spell: interpreting dreams through texture
Recording - June 2021 - 19
Recording - June 2021 - 20
Recording - June 2021 - 21
Recording - June 2021 - 22
Recording - June 2021 - 23
Recording - June 2021 - 24
Recording - June 2021 - 25
Recording - June 2021 - Erica Synths: SYNTRX Analog Synthesizer
Recording - June 2021 - 27
Recording - June 2021 - Moog Sound Studio: Mother-32 & DFAM Analog Synthesis Experience
Recording - June 2021 - 29
Recording - June 2021 - Patch & Tweak with Moog from Bjooks
Recording - June 2021 - 31
Recording - June 2021 - Plugin Outlet: NUGEN Stereoizer Elements
Recording - June 2021 - 33
Recording - June 2021 - Inside the Studio with Mark Hornsby: A little summin, summin!
Recording - June 2021 - 35
Recording - June 2021 - Eventide: H9000 Next Generation Harmonizer (Part 2)
Recording - June 2021 - 37
Recording - June 2021 - Reviewed & Revisited: Steinberg Cubase Pro 11
Recording - June 2021 - 39
Recording - June 2021 - 40
Recording - June 2021 - 41
Recording - June 2021 - Radial Engineering: EXTC Stereo
Recording - June 2021 - 43
Recording - June 2021 - Inside the Box with Joe Albano: Working In Multiple DAWs
Recording - June 2021 - 45
Recording - June 2021 - 46
Recording - June 2021 - 47
Recording - June 2021 - Reviewed and Revisited: PreSonus Studio One 5.2
Recording - June 2021 - 49
Recording - June 2021 - Plugin Outlet: Focusrite FAST Plugins
Recording - June 2021 - 51
Recording - June 2021 - Session Log: The Angelheaded Hipster, Part 6: Plugins
Recording - June 2021 - 53
Recording - June 2021 - 54
Recording - June 2021 - 55
Recording - June 2021 - Plugin Outlet: BOOM Library EnRage
Recording - June 2021 - 57
Recording - June 2021 - Reviewed and Revisited: Modarrt Pianoteq 7
Recording - June 2021 - 59
Recording - June 2021 - Readers' Tracks
Recording - June 2021 - 61
Recording - June 2021 - 62
Recording - June 2021 - 63
Recording - June 2021 - 64
Recording - June 2021 - 65
Recording - June 2021 - Reviewed and Revisited: Ableton Live 11
Recording - June 2021 - 67
Recording - June 2021 - Plugin Outlet: Waves Vocal Bender
Recording - June 2021 - 69
Recording - June 2021 - 70
Recording - June 2021 - 71
Recording - June 2021 - Fade Out: Spaceship Syndrome
Recording - June 2021 - Cover3
Recording - June 2021 - Cover4
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