SOUNDTRACKS TO SHAZAM:
The Journey in Music Marketing
For several years “old school” label and studio executives decried the soundtrack was dead. While the soundtrack business (like the record business as a whole) may not rise to the financial heights it reached into the 90’s, films like 50 Shades Of Grey, Pitch Perfect, and The Fault In Our Stars all proved that audiences still have a strong connection to music in films. How and when can studios tap into that for optimal results? What other platforms can be used to reach audiences with film music, particularly on smaller films? What makes these soundtracks successful, the film, the music, the marketing plan, or all of the above?
Featuring: Alexandra Patsavas (Music Supervisor 'Grey's Anatomy', Mad Men'), Jacquie Perryman (Fox TV Music, Island Def-Jam, PolyGram),
Alisa Coleman (ABKCO), Jason Markey (STX Entertainment), Jason Cienkus (DanceOn), and Eric Zimostrad (Shazam)
Moderated by Joel C. High (Music Supervisor 'Hit The Floor', 'Madea' series)
Alexandra Patsavas founded her own Chop Shop Music Supervision company in 1998 where she quickly earned a reputation for raising the bar in the quality of music selected for television series and feature films, including Grey's Anatomy, The O.C., Gossip Girl, Mad Men, Rescue Me, The Twilight Saga, The Perks of Being a Wallflower, Warm Bodies, Water for Elephants, and The Dilemma. A champion of independent artists, Patsavas has identified and exposed a remarkable string of original music to mainstream audiences. Patsavas’ current Music Supervision projects include television series Scandal, How To Get Away With Murder, Astronauts Wives Club, and more.
(Virgin Records, 20th Century Fox, Polygram)
As a creative music executive with major studio and indie experience in the TV, film and music industries worldwide, Jacquie Perryman has worked in Paris, London and Los Angeles for EMI, Virgin, BMG and PolyGram/Universal Records, and Twentieth Century Fox. She has unusually broad experience in the film and TV licensing worlds in the UK and U.S., and has been on both sides of the fence as a “buyer” and a “seller”. Before relocating to the UK in 2008, Jacquie spent 20 years working in the U.S. for Virgin Records, as Head of Soundtracks for Arista Records, Head of Soundtracks and Licensing at PolyGram (Universal) Records, and 8 years as Head of TV Music for Twentieth Century Fox. Whilst at Twentieth Century Fox, Jacquie worked on TV shows and pilots that included 24, The Simpsons, Buffy The Vampire Slayer, Ally McBeal, X-Files, Roswell, Prison Break, Bones, Family Guy and How I Met Your Mother. A current member of BAFTA, she has been consulting on film, TV and advertising placements, projects for Sir Paul McCartney’s legacy music publishing catalogues MPL, as well as representing some contemporary independent artists and songwriters in those areas. She also occasionally music supervises for films.
Alisa Coleman has been with ABKCO Music & Records for over 25 years and oversees the global operations of it's music publishing, film, and recorded music divisions. She is a senior business executive and industry thought leader with a 30+ year track record and reputation as an acknowledged expert in the fields of intellectual property management, legacy content development, new media innovation and transformative digital strategy. Alisa also develops business relationships with artists and entertainment companies to market, manufacture and distribute releases worldwide. Notable releases include Wes Anderson’s 2015 Academy® / Grammy® Award Winning The Grand Budapest Hotel, 2013 Academy Award® nominated Moonrise Kingdom, Martin Scorsese’s Boardwalk Empire, Independent Spirit Award® Winner Safety Not Guaranteed and nominee Frances Ha. Working with iTunes to develop the first special episodic segment release in an “uberpage” environment, the soundtrack of Showtime series Californication was released as three segments during the run of the season culminating in a full soundtrack release.
Highly respected veteran music executive Jason Markey serves as STX Entertainment’s Executive Vice President and Head of Music. He oversees all aspects of music including production of film scores and development of soundtracks for the studio.
For the past six years, Markey served as Executive Vice President, Music & Soundtracks at Relativity Media where he helped establish a division that developed soundtracks with nearly every studio, including Sony Pictures, Universal Pictures, Twentieth Century Fox, HBO and many others. He oversaw more than 65 soundtracks and supervised music for a wide range of film and television titles including Dallas Buyers Club, Bridesmaids, Act of Valor, Banshee, Like Crazy, Limitless, The Fighter, the “30 Rock” Soundtrack, and many more.
From 1999 through 2009, Markey was the General Manager of Immortal Records, where he oversaw the day-to-day operations of the label. During his time at Immortal Records he signed and developed artists such as 30 Seconds to Mars and Velvet Revolver. Prior to Immortal Records, he was at Arista Records in their A&R Department, where he worked with many talented musicians including Sara McLachlan, Patti Smith and with Carlos Santana on his platinum album “Supernatural”.
Before joining the YouTube MCN DanceOn as Director of Music Solutions, Jason Cienkus was part of the soundtrack album boom from the mid 1990’s to early 2000’s. Working with Music Supervisor Danny Bramson, Jason was an integral part of the team at Warner Bros Records that sold over 25 million copies of soundtrack albums worldwide. His work continued at New Line Cinema under the tutelage of Music President Paul Broucek, working between the music department and the in-house record label operation New Line Records. Today Jason’s current role at DanceOn has him involved with music trends such as the ‘Watch Me (Whip/Nae Nae)” & ‘Hit The Quan’ dance trends, as well as utilizing the YouTube platform and DanceOn Network to support movie projects such as Beyond The Lights, Magic Mike XXL, Step Up: All In and Get On Up. From humble beginnings as an assistant and music/soundtrack coordinator, to the executive suites of major record labels and movie studios and now the brand new world of multi channel YouTube networks, Jason has had a front row seat at the intersection where music and media live.
Eric Zimostrad is currently the Director of Media Partnerships: Music & Television at Shazam LA, the world's leading music discovery platform, with an expertise in creating strategic activations with TV Shows/TV Production Partners/Brands, as well as Music Labels/Management Groups/and Artists to bring novel experiences to audiences directly from Shazam-enabled broadcasts.
He’s worked closely with the TV & Music departments, and a range of many talented collaborators such as the GRAMMY Awards, Billboard Music Awards, The CMA Awards, AMA Awards, Jimmy Kimmel Live!, The Voice, American Idol, GLEE, and Nashville to name a few.
Joel C. High
Joel C. High is a music supervisor and producer who has worked on over 150 films and television projects and also is chief executive for a company he co-founded in 2006. Over the last decade, he created and supervised the music departments for two of the leading independent studios in the industry: Trimark Pictures and Lionsgate Entertainment. In addition to his acclaimed work in motion pictures and television working with directors such as Tyler Perry, Marc Forster, Peter Bogdanovich, Don Roos, Roger Avary, James Foley, Bill Paxton, Billy Ray, Mario Van Peebles, Duane Adler and Rob Zombie, He is a six-time nominee as outstanding Music Supervisor of the year (most recently for VH1 scripted series “Hit The Floor”). He is a founder and board member of the Guild of Music supervisors, and has previously served on the board for the California Copyright Conference. Joel is currently the principal executive at Creative Control Entertainment, a multi-faceted music supervision, consultation, live event and production company, with offices in Los Angeles and New Orleans and diverse clients ranging from independent studios and national brands to international governments.