In her now 21-year career as a film director, Sophia Coppola—the daughter of Hollywood mogul Francis Ford Coppola—has staked her claim as one of the great visionary filmmakers of our time. Though often compared to the likes of Wes Anderson and Paul Thomas Anderson, Coppola has carved out a distinct style of her own.
When you’re relaunching a brand as iconic as the Ford Bronco, there’s more than a little bit of pressure. It’s almost like remaking The Godfather. In other words, you better not screw it up or you’re going to have an army of angry fans at your door. Wieden+Kennedy’s team was facing this pressure head-on, and so much of their brand reveal hinged on the creative—specifically the director’s vision and the music.
Wes Anderson is a divisive director. Some moviegoers resonate with his idiosyncratic style, while others loathe it. But wherever you land on the spectrum, you can’t deny how masterfully he utilizes music. We take a deep dive into his uncanny ability for finding just the right song for just the right moment, whether that’s how he distinguishes between songs and scores or how he uses music as a way to interpret the stories he tells.
There’s a new group of creators that are currently being aﬀected by unexpected DMCA claims. Twitch music is now causing streamers to face claims for using unlicensed music. And many of them feel blindsided.
When the team at Park Stories was tapped by Quibi to produce the new series Prodigy, they had a vision in their head—an extremely polished, yet creative examination of young athletic talent at the highest level. So, when they were hunting down music for the show, they knew they needed music to match the quality of their work.
Finding music for your films is not easy. It’s a little bit like a treasure hunt, and not always the fun kind—it’s the kind that can really slow your edit if you don’t have the right tools at your disposal. We know because we’ve been there. You’re in the middle of a project and it’s time to start thinking about the soundtrack, then it all comes to a screeching halt.
The value of music in a film isn’t always talked about, or expressed explicitly, so why would they pay for better music if to them it just serves as a filler or background to the imagery? We know it’s so much more than that, so we thought we’d take a shot at explaining why quality music matters for your films.
A music supervisor isn’t necessarily a household title, partially because it tends to be a “high-end” job, reserved for agencies and in-house brands that not only see the value in music but also have the budget to pay someone to seek it out for them. Still, Alec Stern, music director for DDB Chicago and We Are Unlimited, thinks the heyday for music in film is right now, and not just for iconic ad agencies:
International Justice Mission’s latest film, written and directed by Adam Joe, is a docu-narrative that tells the story of Liana (her real name is protected), a young girl who was sold into sex slavery by her own mother. In this case study, we’ll explore how Musicbed Custom Music Composer Chris Coleman took Adam’s direction to create a stunningly on-point score for this heart-wrenching and redemptive short film.
Every composer brings something different to the table — their own style, experience, taste, and talent. Our Custom Music roster has some of the most well-respected names in the film and advertising industry for a good reason — they’re making music that’s unique to themselves.