I was delighted to find this film about folk song collecting in the Appalachian mountains. Songcatcher (2000) examines the life of a fictional song collector (loosely based on the life of Olive Dame Campbell, an American contemporary of Cecil Sharp), and her academic and romantic motivations. While it may not have come to a cinema near you, and is possibly more melodramatic than real-life folk song collecting, it is packed with outstanding performances of traditional songs in the Appalachian tradition.
If you want to see more great examples of folk songs in movies, they will be published as an addendum in the Sing Yonder newsletter. For more info and to sign up for free, visit singyonder.substack.com.
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Sometimes, another way to enjoy a movie has nothing to do with sitting in a theater. Instead, it might have you sitting in traffic, singing along with the radio on full blast. But which songs written for movies are truly the greatest of all time?
We did Grease in 2016 - so I was able to grab my file to see what we did to use these songs - here's some info:
Samuel French only holds the stage rights to GREASE - so to license the additional songs, you need to contact Warner/Chapell - and that contact information was in the licensing contract. Warner/Chapell, however, does not send you the sheet music. Samuel French can send copies of You're The One That I Want, and Hopelessly Devoted - for us it was an extra $200.
I received a questionnaire prior to our licensing application being fully accepted -and I had to submit a seating chart of our space (because they charge by the seat, not average sales history). One of the questions was: Will you be requesting permission to perform the movie songs - They are "Grease", "Sandy", "Hopelessly Devoted to You", and "You're the One That I Want"
One of the other documents in th efolder isa "Theatrical License Request Form" for the movie songs - and it says to allow 3-4 weeks for clearance of requests.
Hope this helps a bit! I will say that Grease was the most expensive show we ever produced for licensing costs and rental materials, etc (not production costs like costumes, lumber). Contract costs were over $9000 - we did 5 performances, and we have an 1100 seat house, tickets were $6-9. But we had to rent additional chorus books for $10 per person. Buy the script books for dialogue from SF. License additional songs through Warner/Chapell. It felt like a lot of nickel-and-diming because there are so many factors to take into consideration.
For years, I said that we'd never to do Grease - and that if we ever did, it would be because we either needed more community support for our program, or more money. At the time, we needed both. When everyone asks WHY? - I bring up the themes of the storyline - smoking, drinking, Rizzo's situation, Sandy changing to please a guy... it has toe-tapping music, but the messages are mixed at best. We did cover our costs - but we didn't sell out the place.
But if your audience members are like mine - they will want what they see on stage to closely resemble the movie - so we felt we needed to add those songs.
We did Grease in 2016 - so I was able to grab my file to see what we did to use these songs - here's some info:
Samuel French only holds the stage rights to GREASE - so to license the additional songs, you need to contact Warner/Chapell - and that contact information was in the licensing contract. Warner/Chapell, however, does not send you the sheet music. Samuel French can send copies of You're The One That I Want, and Hopelessly Devoted - for us it was an extra $200.
I received a questionnaire prior to our licensing application being fully accepted -and I had to submit a seating chart of our space (because they charge by the seat, not average sales history). One of the questions was: Will you be requesting permission to perform the movie songs - They are "Grease", "Sandy", "Hopelessly Devoted to You", and "You're the One That I Want"
One of the other documents in th efolder isa "Theatrical License Request Form" for the movie songs - and it says to allow 3-4 weeks for clearance of requests.
Hope this helps a bit! I will say that Grease was the most expensive show we ever produced for licensing costs and rental materials, etc (not production costs like costumes, lumber). Contract costs were over $9000 - we did 5 performances, and we have an 1100 seat house, tickets were $6-9. But we had to rent additional chorus books for $10 per person. Buy the script books for dialogue from SF. License additional songs through Warner/Chapell. It felt like a lot of nickel-and-diming because there are so many factors to take into consideration.
For years, I said that we'd never to do Grease - and that if we ever did, it would be because we either needed more community support for our program, or more money. At the time, we needed both. When everyone asks WHY? - I bring up the themes of the storyline - smoking, drinking, Rizzo's situation, Sandy changing to please a guy... it has toe-tapping music, but the messages are mixed at best. We did cover our costs - but we didn't sell out the place.
But if your audience members are like mine - they will want what they see on stage to closely resemble the movie - so we felt we needed to add those songs.
Adams wrote (again with Gretchen Peters and Eliot Kennedy who contributed to one of the songs in Spirit) and performed five songs for the film. The soundtrack CD has since been deleted and has become something of a holy grail for Bryan Adams fans.
Smile: Songs from the Movies is a 2003 compilation of songs performed by Lyle Lovett for various movie soundtracks between 1992 and 2002. Smile was the fifth project by Lovett that did not introduce a new collection of his own songs during the expanse of time between his 1996 Grammy winning The Road to Ensenada and My Baby Don't Tolerate (released later in 2003). Other projects included a 1998 cover album, a 1999 live album, a 2000 movie soundtrack, and a 2001 anthology. The release of Smile led some reviewers to speculate the Lovett might be experiencing some sort of writer's block.[1] Another possibility is that Lovett was taking it easy following a 2002 injury from an accident involving a bull on a family farm in Texas. During the incident Lovett's leg was broken in 20 places. A fracture to his thumb also left him unable to play guitar for an extended period.[3]
Dirty Dancing has several big moments featuring songs we've come to love. Obviously though, the biggest moment (the one that gets Baby out from her corner) comes when this song plays and they have their final dance together.
There is this problem with JBL Flip 4, I think that playing via AUX sound is more controlled, clearer bass and less distortion. But it cuts out the sound on quiet passages in the songs, or in the movie, it soo annoying. Does anyone have a solution? It works fine with BlueTooth, but let's say, movies, the sound has a delay via BlueTooth so it's weird.
Music in the movies is an essential element of thefilmmaking process and is one of the main factors thathelps to determine box office success or failure. Thinkof a motion picture without music - whether it's anorchestral or synthesizer score, a brand new hit songor a long time standard - and you'll begin to realizethe value and contribution of music and lyrics to film.And whether you're a producer, a director, an agent,a composer, a songwriter, a studio executive, a musicsupervisor, a business affairs executive, or anyoneinvolved in film, or who wants to get involved.
Most successful motion pictures use hit songs to createa period flavor, establish a mood, give an actor a chanceto sing, make people laugh, make people cry, elicitemotions, and create interest in the movie through successfulsoundtrack albums and hit singles. A film producer whowants to use an existing song in a motion picture mustsecure the permission of the music publisher to usethe composition in the film. Once an agreement is reachedas to a fee, the producer will sign what is known asa synchronization or broad rights license, which willgive the studio the right to distribute the film theatrically,sell it to television, use the song in motion picturetheater trailers or television and radio promos, andsell videos. The synchronization fee received by themusic publisher is shared by contract with the songwriter.
Because the songs used over the opening credits ofa motion picture many times reflect the theme or ambianceof the film, they are many times more important to thefilm than other songs used for background. The sameis often true for use of a song over the end credits,although it is becoming more common for many songs tobe run during the closing credits in order to completethe requirements for a soundtrack album. The fees chargedby publishers are almost always higher than other usesof music in a film and usually range from between $30,000to $65,000 for synchronization and video rights, buteach negotiation and final price depends upon many ofthe factors mentioned earlier (i.e. budget of the film,music budget, importance of the song, whether thereare replacement songs available, etc.). If the titleof one of these opening credit songs is also used asthe title of the film (but the film's plot is not basedon the story line of the song) the fees are increasedfurther (i.e. from $75,000 to over $500,000).
Because student-produced films have limited chancesfor commercial success and small budgets, many musicpublishers will license their songs for substantiallyreduced fees. In such cases, most publishers recognizethe importance of assisting young filmmakers, sincethey are an integral part of the future of the entertainmentindustry. Songs will sometimes be given to these youngproducers via a limited license for free or for a nominalcost so that their projects will be realized and theircareers advanced. Most publishers, however, will providethat if the project has any type of commercial successor secures more than just film festival or art housedistribution, an additional fee or fees will be paid;a proviso which not only helps young producers get theirprojects off the ground but also ensures adequate compensationto the publisher and songwriter for their generosityif the film realizes national distribution or achievessome kind of financial success. 0852c4b9a8
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