MUSIC FOR FILM, TELEVISION, ADVERTISING, AND NEW MEDIA
President Or Vice President Of Music
JOB OVERVIEW
These executives are charged with supervision of the music in both production and post-production phases, with an emphasis on pre-existing music. Some also supervise the scoring and mixing process.
SPECIAL SKILLS
“Being organized, responding properly, and keeping my word,” are skills Celest Ray cites as keys to her success. “Knowledge of the music business and a good business sense is important, and an understanding of music publishing, and how record companies work is essential.”
A DAY IN THE LIFE
During her hour-long commute to work, Ray listens to music. “I might be picking music for a bar mitzvah in one show and the opening credits for another.” Once she arrives at the office, her first task is to confirm arrangements for an artist appearance on a show, make sure the poster art has arrived, and finalize any necessary approvals. Twice monthly, she attends spotting sessions with a television show's executive producer, associate producer, composer, and music editor to pick out scenes where music, whether songs or score, are needed. On any given day she talks with songwriters, publishers, record company representatives, and artist managers, or she may work up a music budget to present to a producer. Charged with overseeing the licensing of masters and publishing owned by Spelling Productions, she provides quotes and approves their use.
CAREER TIPS
“When we put our fears first, we always lose. I hope that I grow old in the business and that I'll grow to drop my fears, believe in myself, and be a guide for truth. Know that you can be who you are and still succeed.”
Be constantly listening to music so that you have a vast library of music in your head to pull from. Write down notes about songs that resonate with you as a quick reference for when you're looking for music.
POINTERS FOR THE JOB SEARCH
“The best advice that I can give to somebody who wants to be a music supervisor is to find somebody that you respect that you can model,” says Ray. Work hard and look for opportunities to prove yourself. “When I was working in business affairs and I wanted to do a more creative job, I stood up to the plate and asked for the opportunity. Then, I would stay late to do the work, over and above my business affairs work. Instead of being resentful that nobody was letting me try to be a creative person, I took that on in addition to my other work, and people came to rely on me more and more for my creative input.”
CELEST RAY, VICE PRESIDENT OF MUSIC, AARON SPELLING PRODUCTIONS
A job meant to supplement her income while in college changed Celest Ray's career path from nursery school teacher to music executive. “I fell in love with the music business. I always loved music and I really liked the mix of the business aspect with the creative aspect.” As secretary at an independent record label and music publishing company, owned by artist Johnny Rivers, Ray gained experience in every conceivable aspect of the business and was eventually promoted to general manager. After ten years working for Rivers, she was ready for a new challenge. In 1983 she accepted an offer from producers Norman Lear and Jerry Perrenchio to be director of music for Embassy Pictures. During her tenure, Ray supervised such films and sound track albums as This Is Spinal Tap, Stand By Me, and A Chorus Line. When Embassy's theatrical division was sold to Dino DeLaurentis in 1987, she stayed on, working on Crimes of the Heart and Bill and Ted's Excellent Adventure, among others.
VOICES OF EXPERIENCE
THE LEAST FAVORITE THING ABOUT THIS JOB:
“The politics—I don't like it when deals should happen, but they don't because there is a personal interest in conflict. Or, when one executive won't talk to another executive because they don't want to admit that they have to ask a question.”
THE BEST THING ABOUT THIS JOB:
“Picking music and seeing that what I've selected tickles the fancy of whomever I'm pitching it to. Then, seeing it on screen, seeing that it really works. That's what I love most about my job.”
Embassy went bankrupt in 1992, but Ray already had been operating her own company, Music in Motion, since 1988. As a contractor, she cleared music rights for Seinfeld, numerous projects with MGM and Universal film studios, and a series of film sound track albums for Big Screen Records. Hired part time by Ken Miller to clear music rights for the first season of Beverly Hills 90210, she was then asked to supervise music for Melrose Place the following year. Ray took a position at Paramount Studios in 1994, but after six months was hired full time by Spelling Entertainment Group as director of music coordination and continued to supervise music for Melrose Place. Promoted to vice president of music, today Ray is involved in numerous Spelling television productions, including Charmed, Kindred, and Any Day Now. Ray also served as music coordinator for the television series 7th Heaven, from 1996 to 2007.
Additional topics
- MUSIC FOR FILM, TELEVISION, ADVERTISING, AND NEW MEDIA - Music Supervisor
- MUSIC FOR FILM, TELEVISION, ADVERTISING, AND NEW MEDIA - Creative: Vice President • Senior Vice President Of Music (film Studio)
Job Descriptions and Careers, Career and Job Opportunities, Career Search, and Career Choices and ProfilesCareers in the Music BusinessMUSIC FOR FILM, TELEVISION, ADVERTISING, AND NEW MEDIA - Creative: Vice President • Senior Vice President Of Music (film Studio), President Or Vice President Of Music