Recording - April 2015 - 55
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you when the director is in love with a song. Maybe it's
the director's 14-year-old daughter who loves the song
and plays it around the house, and the director falls in
love with it."I want this song in my movie,"and you
are wearing that albatross around your neck for six
months. And then the big day comes. You are on the
mix stage, you've totally blown through the budget,
there's no more money. Is the Rolling Stones song
staying in or coming out? How do you prepare for that
moment, and what do you do for a safety net?
You get alternatives. You just get lots of alternatives.
You put the calls out, and you always have music
that is kind of ready to go. You also need to think of
things from the audience perspective.
So if somebody asks you songs for teenagers for a
Disney [project], that's different than [what you'd
use for] AMC. There are different audiences. So
every TV show-just like a concert-there are
going to be different "ticket holders" that are watching every week.
is that music is driving so many industries. What is
the best way to get people's attention? A song. You
know, the same thing I was talking about-selling
the comedy, telling the story, how to get there fast.
The song is such a powerful tool, and the music
industry is not being treated well in terms of what
it's contributing economically to the livelihood of
these industries-you know, creating the Spotifys,
the Shazams, all these different things. And we're
all supposed to say, "Oh, thank you. Thank you so
much for using our music so you can make more
money and not pay me." [applause] I just want to
say, you treat people to teach people how to treat
yourself, you know what I mean? So if you [musicians] accept it...hey.
There is just so much information out here. And
this is the one of the things that I like to talk about,
Don't miss Part Two of this interview in next month's
issue!
you, every character in your movie is screaming out
either a rock score...or at least a guitar score." And
she goes, "Really?" I'm like, "Really!" So, you know,
it's those kinds of comments are a big example. But
those are the kinds of things that you have to keep
going back into character. You know, what is the
world your character lives in? What is the music
that they play?
For a while, every single director wanted to use
"There She Goes." It was on everything-every
commercial, everything else, it was in every film. So
when I worked on A Guy Thing, the director had it
in the film and loved it, loved it, loved it. I think for
three films in a row, every time I would walk into
the editing room it was playing in some theater. I
just finally just said, "Look, you cannot use this
song." And nobody in the editing room was saying
it; everybody was silent. I said, "Okay, I'm going to
say it, and I want to go to each and every one of
these people in the room and I want you to tell me
that I'm lying, and let the director know." And they
were like, "No, it has been used a lot." And we went
"For a story, you always look at 'What
does the song have to do; what is the
end result; what does it serve?'"
-Maureen Crowe
to the list of commercials-Tampon, all this stuff-
and I said that you have to know when you use that
song, all of that is coming with, because it's not in a
vacuum. The song is gonna come with you wherever you go. Like when I say "Blue Velvet," do you
think of 1950, dancing with your girl? Or do you
think of David Lynch? So every song has its footprints, and you have to respect that footprint. So
you do always have alternatives for it, and most of
the time there are always great alternatives.
I wanted to say this about directors and their prejudice against music. It always goes back to the scripts
and who is your character. I had a director one time
that was a woman who was doing this film about a
girl who was in a rock band in Los Angeles. Her
sister was mentally impaired, but was in love with
Ricky Nelson-Ricky Nelson posters all over the
place-and she had to go get her after the mother
died and figure out a life together back with her
rock group. The director wanted a saxophone/jazz
score. And I'm like, "Gosh, I'm so brilliant." I know,
I hate to tell you this, because she likes saxophone;
that's what she listened to. And I said, "I gotta tell
55
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Recording - April 2015
Table of Contents for the Digital Edition of Recording - April 2015
Recording - April 2015 - Cover1
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Recording - April 2015 - 1
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