With a view of ARoS, discussions centered on music supervision, Discogs, challenging markets in Japan and Argentina, storytelling—and the rising cost of Spice Girls music. This was the scene at SPOT+ panels about music in film trailers and commercials
Text and photo by Marcus Nattestad Huusom
The room was packed and the atmosphere vibrant during the trailer panel, where Megan Barbour, Daniel Nielsen, and Roy Lidstone talked about creative processes and showed examples of trailers. Torsten Cubel made his debut as a SPOT+ moderator—and what a debut it was. He summed it up shortly after the panel began:
“This is the easiest panel to moderate.”
The main message? Music in trailers is storytelling. Without music, trailers would often be just a string of incomprehensible clips. Trailers are marketing tools, and it’s all about grabbing attention. But behind those grand, cinematic moments lie thoughtful decisions and creative problem-solving.
Take the trailer for the zombie film 28 Years Later, for instance. Ninety-nine percent of the sound is a 1903 poem by Rudyard Kipling, read aloud in a ticking, counting, rhythmic, but monotonous voice. The original recording was slightly rearranged, but still keeps its haunting, authentic tone. Megan Barbour succeeded in creating a uniquely terrifying soundtrack that both unnerves and captivates. She also mentioned the trailer for Little Children, where the “music” is nothing more than a passing train—though she didn’t produce that one.
Trigger Warnings
This panel had a distinct horror theme, from zombies to comically gruesome splatter scenes in the Evil Dead trailer. As Megan put it:
“All of my work has trigger warnings.”
The discussion also touched on how music supervisors obtain covers, remixes, and sound effects—and how composers or musicians can create and share them. Megan emphasized the importance of including contact info on files sent to her and her colleagues. The panel ended a bit abruptly, without time for a Q&A session. It seemed like it could’ve easily run for two hours.
A Revolution
The following panel—Music In Ads: Locally And Globally—brought more disagreement, particularly on whether it’s worth sending music to advertising agencies. Frederich Schindler from Too Young admitted:
“I probably don’t look at 150 emails a week.”
But one thing everyone agreed on: Discogs has revolutionized their work. Often described as a kind of Wikipedia for music, it has made finding and purchasing music significantly easier. The panelists encouraged artists to use it if they want to get discovered.
On this panel were Alexandra Carlsson-Norlin, Jamie Marks, and Mara Techam, moderated by Beth Urdangher. The tone was more relaxed and conversational than in other panels. From the start, the audience was invited to join the discussion—with one caveat: no talk of specific prices or brand names. The crowd got involved quickly, and eventually, many panelists dropped their microphones altogether.
Challenging Markets
“License it globally, but run it locally.”
Everyone in the room agreed with this. It means markets are so different from one another that it’s easier to license music for global use from the outset. However, certain countries remain difficult. For instance, Argentina requires you to either use local music or appear in person to sign contracts. In Japan, royalty regulations are complicated and restrictive.
The discussion revealed striking similarities between the music industry and commodities trading—like in oil or grain markets. One comment summed it up best:
“The price of Spice Girls skyrocketed last year.”
Med udsigt til ARoS blev der diskuteret music supervising, Discogs, besværlige markeder i Japan og Argentina, storytelling og stigende pris på Spice Girls musik. Der var nemlig SPOT+ paneler omhandlende musik i filmtrailers og reklamefilm.
Tekst og foto: Marcus Nattestad Huusom
Der var overfyldt i lokalet og god stemning i trailer-panelet da Megan Barbour, Daniel Nielsen og Roy Lidstone både talte om fremgangsmåder og viste eksempler på trailers. Torsten Cubel har sin debut som SPOT+ moderator, og hvilken debut. Han beskriver det selv kort tid efter start:
”This is the easiest panel to moderate.”
Hovedbudskabet var, at musik i trailers er storytelling. Uden musik ville trailers ofte bare være uforståelige klips der kommer efter hinanden. Trailers er marketing, og det handler om at fange folks opmærksomhed. Men inde bag de grandiøse filmtrailers ligger der mange overvejelser, og kreative løsninger.
I traileren til zombiefilmen ’28 Years Later’ er 99 procent af lyden for eksempel et digt fra 1903 af Rudyard Kipling der bliver læst op i en tikkende, tællende, rytmisk men monoton form. Den gamle optagelse er omarrangeret lidt, men bevarer en stor del af sit originale udtryk. Megan Barbour er virkelig lykkes med at skabe et unikt soundtrack til denne horror-trailer, som både formår at skræmme, men også fange din opmærksomhed. Megan nævner også traileren til filmen ’Little Children,’ hvor ”musikken” kun består af et forbikørende tog. Det er dog ikke Megan der har produceret denne trailer.
Trigger Warnings
Der er nærmest et horrortema til dette panel. Fra zombiefilm til nærmest komisk splatter i Evil Dead traileren. Som Megan siger:
”All of my work has trigger warnings.”
Der bliver også talt om, hvordan man som music supervisor skaffer covers, remixes og lydeffekter, og hvordan man som komponist eller musiker laver, og kommer ud med dem. Hun understreger, at det er vigtigt at sætte kontaktinfo, på de filer man sender til hende og hendes kolleger. Panelet slutter lidt brat, uden der bliver tid til Q&A. Der kunne godt have været sat to timer af, lader det til.
En revolution
Til Panelet Music In Ads: Locally And Globally, var der derimod uenighed om, hvorvidt det kan svare sig at sende musik til reklamefirmaer. Frederich Schindler fra Too Young sagde fx at han ”nok ikke kigger på 150 mails om ugen.” Til gengæld var alle tilstedeværende enige om, at Discogs har været en revolution for deres arbejde. Discogs bliver i andre medier omtalt som en slags Wikipedia for musik. Det gør det langt nemmere for dem at finde og købe musik. Derfor opfordrer de også til, at man bruger det, hvis man vil ”opdages.”
Til panelet er Alexandra Carlsson-Norlin, Jamie Marks og Mara Techam også tilstede, modereret af Beth Urdangher. Det opleves mere uformelt end de andre paneler. Der bliver allerede helt ved start inviteret til samtale og debat, men dog med et forbehold: Udelad specifikke priser og brands. Og publikum deltager da også hurtigt i samtalen. Flere paneldeltagere stopper med at bruge mikrofonen. Men panelet kom også op på et mere internationalt plan.
Besværlige markeder
”License it globally but run it locally.”
Det er alle tilstedeværende enige om, og det går ud på, at der er stor forskel på markederne. Derfor er det nemmere, at købe rettigheder til brug globalt. Der er dog også bestemte nationer, som er besværlige i den sammenhæng. For eksempel bliver der snakket om en regel i Argentina, hvor man enten skal bruge lokal musik i reklamer, eller møde op fysisk og lave en kontrakt. Eller Japan, hvor der er besværlige regler om royalties. Det lader til, at der er stor lighed mellem musikmarkedet og aktiehandel i fx olie eller korn. Der var én sætning der bekræftede det:
”Prisen på Spice girls steg helt vildt sidste år.”
