According to Lol Hammond, being a music supervisor is a "weird niche job" that is usually undertaken by "old gits". He tells us more about this and his work on Faintheart.
According to Lol Hammond, being a music supervisor is a "weird niche job" that is usually undertaken by "old gits". He tells us more about this and his work on Faintheart.
What does it take to be a music supervisor?
I've been fortunate enough to work on some great British movies including It's All Gone Pete Tong and London To Brighton. Before that I was a DJ for 17 years, I've been involved with the Big Chill. There are lots of things that make a good supervisor but the two essentials are having a wide taste in music -including classical - and a good range of contacts in the music industry. It's a weirdo niche job for old gits; you can't teach it at college.
How do you get famous bands to appear on your soundtrack?
Once we have a cut of the film, and if it's a big band, I would book a little screening room like the Covent Garden Hotel and show them an early cut of the film. I remember showing Mike Skinner from the streets The Football Factory up front. Most British bands love films and they know the British film business has been battered so often they are keen to help out.
What makes good soundtrack music?
If you've got lots of dialogue, most tracks will interfere with what's going on screen, so you've got to be careful. A lot of bands do instrumentals of their tracks which they might not release to the public - I'm always keen to have a listen to those.
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