Cinema Canada (Dec 1979-Jan 1980)

same results. The same requirements should apply to feature films. If there was more communication, earlier, the composer could undoubtedly use his expertise more creatively. One last point in relating the advertising business and the film business. There are many advertising campaigns running in Canada where the budget for the production of music exceeds the music budgets for many multimillion dollar films. There are very few pictures being produced in Canada which can’t have a commercially exploitable soundtrack. This can only be achieved however, if the composer is consulted early in the planning. Most screenplays have a wealth of material where the story line can be transferred into lyrics and set to music. Even when the song is not part of the screen play or heard as part of the picture content, in many instances it can be used over opening or closing credits. This adds another dimension to the soundtrack value and provides the producer with the vehicle for free broadcast exposure. Canada has the expertise to make this all come about but until film people realize the importance of music both in terms of dollars earned and free promotion, music will continue to be only a necessary evil in the film budget. In reviewing a number of prospectuses for Canadian films, there is one with a budget slightly under $3 million. A mere $35,000 has been set aside for music. The prospectus goes on to promise the investors added revenue from the sale of a soundtrack album. Unless the intent is to use a string quartet, this is doubtful as there are step-up fees to all talent for this added usage. The starting point for a wellproduced contemporary album today is somewhere in the order of $50,000, including both the creation and the production of the music and these costs can easily go to a quarter of a million dollars. To budget approximately one percent for music in a picture is unrealistic. To maximize the value of music in Canadian film scores, both esthetically and commercially, the following problems must be solved and when they are, the entire film industry, including the composers (and more importantly, the investors) will benefit. e Communication must be improved between the people who make pictures and the people who make music. e Amore realistic dollar figure must be allotted for music when film budgets are being assembled and this budget must be adhered to when unforeseen production problems lead to cut-backs. If you're into music, get int Each issue contains articles on Canadian artists, Canada’s leading musical experts on Guitar, Keyboards, Percussion, Bass, Woodwinds, Brass, Synthesizers, Vocal, Arranging, Recording, Audio and Business. Caper Collections 42/December-January o Canadiam 0 Oo NMS edt recording equipment, the Canada F Mail with your payment to: Canadian Musician adas ig of seo oe eee Heute * 4.00 | 2453 Yonge Street, Ste. 3, Toronto, Ont. M4P 2E8 records, tour dates, product issues ; news and dozens of other 30 issues 19.00 COUNT ME IN... she ‘ > subjects Outside Canada ae | Please enter my subscription to Canadian Musician ie 10 issues 10. Featured on a regular basis By sealene $18.00 | Name are columns by some of 30 issues 25.00 SUBSCRIBE TODAY e The Canadian film industry must look to proper musical copyright promotion as another source of income. This would undoubtedly be looked on with favour by Revenue Canada, the Secretary of State and the CFDC, as it will mean the greater portion of all copyright earnings will flow back to Canada. e Competent people must administer this function — people who .know this business. A good film music publishing company is more than a repository for a film score. The copyrights must be aggressively exposed and promoted to other potential recording sources. e Worldwide record distribution networks exist to release, promote and market film soundtrack albums. The experience gained through our own record company, Rising Records Limited, has shown how crucial it is to be able to evaluate the advantages and disadvantages of the many types of distribution agreements available. e In negotiations with international film distributors which have an affiliated record company ora publishing arm, the Canadian film producer should consider alternate choices and not necessarily limit himself to their related companies. The different territories where a picture is scheduled for release will determine the strengths and weaknesses of the avenues open for consideration. e The time factor between film release and record release is critical. In marketing a soundtrack album, the needs of the record market and those of the film are quite different. With the right expertise and sufficient communication, the soundtrack can effectively serve two purposes. The film business in Canada is a burgeoning industry. Tax laws have created a healthy climate for investors. Our film product is being given a chance in world markets. We are developing expertise in the many allied crafts. A truly wonderful opportunity exists for continued development. The value of good and marketable soundtrack albums must not be underestimated. It is another weapon when negotiating for distribution. In a high risk business, it is important that all exploitable elements be looked at and music is certainly one of these elements. Music is one of the six points required for feature film certification. Despite this, the issue should be, how to turn, what has historically been an expenditure in a film budget, into an added source of revenue. Pre-planning, communication, adequate film music budgets, all require attention. The Canadian film industry is getting what it has been paying for and to date, Canadian film music hasn’t earned its keep. Oo Address Goth or es cana aia ee cake BD a atid _ Postal Code 10 issues APO Vas Gage Oe oo | Please check one: 20 issues 30 issues Enclosed is nv cheque or money order for 0. =