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.
MUSIC SUPERVISOR
JOB OVERVIEW
A music supervisor is hired to oversee all the
music that is used in a production,
whether on film or television. The supervisor
works closely with the director in
selecting songs, choosing a composer (if one is
used), and acquiring the rights for the
production to use the songs. If there is a
sound track, the supervisor secures the
record deal and works with the appropriate
parties to bring the album to release.
SPECIAL SKILLS
"The ultimate skill is sensitivity," says
Barklie Griggs. "When they're looking at a
scene in a film, you have to imagine how that
character feels. What is happening in
their life in this movie and what song could
make that scene better; what music could
enhance the feeling. Being perceptive about
what the director is trying to convey.
Also, knowing every kind of music and
remembering songs."
Julie Houlihan says, "I think the number one
thing that has made me successful is
my passion for music. I love all different
kinds of music. I think that a good music
supervisor has both sides of their brain
working. You have a budget that you stick to
and clearances to get. You have to work with a
lot of people--studio executives, direc-
tors, producers, the sound track company--with
many different agendas. You have to
learn to be a problem solver and to think
through issues. You have to be strong on the
business side and creative side."
A DAY IN THE LIFE
"I get to the office between 9:30 and
10
a.m.," says Griggs. "For two to
three
hours, I play songs to see if the music I've
picked for a film fits appropriately into
each scene. Between, I jump on my computer and
check who wrote the song, who has
the rights, and how much it will cost to use
it." Once Griggs determines a song will fit
into the film's budget, he places the
appropriate CD into a pile that he will later play
for the director. In the early afternoon, he
makes calls to publishers, record company
people, and directors. Between 2 and
4
p.m., he drops by the editing room and
plays
songs for the film's director. Afterward,
Griggs makes calls to find music or to get
more specific information about a song. He may
be involved in negotiating a com-
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