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Posted by Tex Watt on Saturday, November 3, 2018

WeGet Music


Music Supervisor

Springboard Festivals



Over his decade long career, Chris Mollere has elevated the job of Music Supervisor to the highest level of creative brilliance and music business acumen. Recently, Mollere music supervised the critically acclaimed film Get Out, which earned writer/director Jordan Peele an Academy Award. Mollere’s extensive TV credits include season-long gigs as Music Supervisor on the CW’s Vampire Diaries, The Originals, Pretty Little Liars and Roswell, to name a few. Other films include Bad Words, Kin and The Oath. He is currently supervising the teen post high school grad coming-of-age film The Last Summer for Netflix, slated for release in 2019.

JR: For the critically acclaimed film Get Out which earned writer and director Jordan Peele an Oscar — is there one scene where you were especially proud of how the music helped tell the story?

CM: I’m actually most proud of the music we took out! Let me explain. We didn’t have that many songs in to begin with. We had a couple of original songs written with composers. Jordan has such a brilliant mind — we put in songs in some scenes, but they weren’t necessary. One example was in the car when the deer gets hit – it was better without music. There was also something about the awkwardness of our lead (played by Daniel Kaluuya) driving up to the house and into the girlfriend’s world – it was more awkward not having any music there. We had a song temped in, but then cut it. So the decision to take out music we had initially placed actually made a better film. The power of music is only there if it’s in there only when needed.

JR: It’s like putting an exclamation point after every sentence in a paragraph you’re writing!

CM: Yeah! Music loses its power when it’s used over and over and over. The audience gets numb to it. Sometimes you have to guide people’s emotions, but at the same time you’re trying to tell a story. You have to allow people to enjoy the journey. Sometimes it’s what you don’t do that gives the film more power – and the score is included in that conversation. Use the power of music to help tell the story, but don’t overuse it.

JR: For some of your TV shows like Vampire Diaries, The Originals, Roswell which I hear is coming back…

CM: Yeah that’s the re-boot, ten years later…

JR: Were there any scenes where you did need music that you were particularly proud of?

CM: We had a scene in the Season 3 finale of Vampire Diaries of a car crashing into water, with underwater shots. The song we wanted to use was “Dauðalogn” by Sigur Ros — that one was too beautiful. However, we were denied clearance multiple times. I kept going back to them. I couldn’t find a replacement with the emotion and power. Finally a band member saw the scene — and we got cleared. It’s one of my favorite placements I’ve ever been part of.

JR: How has the roll of music supervisor changed over the last few years since you started?

CM: There are lot more people who claim they’re supervisors – but not necessarily knowing the job. It’s a major problem because it’s giving negative connotations to the position of Music Supervisor. There’s no college degree or course plan – now you’ve completed this, now you’re a music supervisor. Basically anyone can say they’re a music supervisor. People think getting the job is the key. It’s just the beginning. You have to know about exactly what you’re doing in every facet, everything from unions to on-camera to clearances to licensing to the creative aspects. Some people will mess up and ruin it for the pros. When we started the Guild of Music Supervisors, the primary goal was to only have people who knew what they were doing in it. So now if you are validated by the guild, you know the craft of music supervision.

JR: It seems Neflix and Amazon have taken most of the films that might have gone theatrical, but are not big budget action or sci-fi.

CM: In fact The Last Summer is about an 8 mil film. It has a bunch of CW actors, it’s actually well done.

JR: Since the big three Universal, Warner, Sony have consolidated so much of the famous music in the world, is there any increased flexibility since Netflix and Amazon now have so many films and series with lower budgets but wider audiences – or are they still holding the line on pricing? If so, isn’t this a great chance for indie talent to get placements?

CM: We all need to have a pow-wow with the big companies, from business affairs to the lawyers to the executive producers and directors. The music budgets are not correlating with the music needs sometimes. But there’s great affordable music out there, So many talented independent artists are hungry for placements in film/tv. It’s something that makes a true difference in their career and life. Sometimes it’s better to have a song that nobody’s ever heard of. Sometimes when you use a big song, it takes the audience out of the story – oh there’s the new one from Imagine Dragons. I just heard that at a container store. You start thinking about other stuff – wait what am I watching? You forget where you’re at and it can pull you out of the story a little bit. It nice to expose a whole new group of people to music that is special and different, an artist they would not have found on their own. I’ve seen people lose their minds; what is this song, who is this artist, where can I see them play live? That’s the beauty of this. Making a difference in the music for a show, and making a difference in the artist’s lives, and making a difference in the audience’s lives.

JR: Music discovery is an incredible thing — people can associate a film with a band or style of music they’ve never been into before. Talk about adding value to your entertainment product.

CM: One of the biggest things about becoming a music supervisor is you almost become an actor. You have to get inside the mind of the audience. What would be representative, what would they expect, what would be best for this project? You can also say what do I like, is this is my taste? Luckily I’m a music fan from classical to heavy metal. Reggae, Indie rock, Electro, EDM whatever. There’s a couple genres I’m not the biggest fan of – some “bro” country. But I understand it. I’m a music fan. I remember growing up with Tupac and Biggie Dr. Dre, Jurassic 5 — hip-hop artists I love. And rock like Metallica. Pearl Jam, Bon Hiver, Sigar Ros.

JR: How do deal with temped in famous music the show or movie can’t afford?

CM: I’m doing a movie now The Last Summer where I’m replacing the entire soundtrack – they temped in a lot of stuff – and that’s a million and a half bucks we don’t have. We won’t lose one bit of power and creativity by changing these up. It will allow the audience to get more into the story and enjoy the ride.

JR: What advice would you give to up and coming artist, writers producers that want to get more placements?

CM: Create music that is inside you, that you have to create. Then do alt mixes for film/tv. Stick with common themes. Don’t be too specific in your lyric. For example if it’s a love song, maybe don’t specify gender – there may be a story where it’s a guy and his boyfriend or husband, a girl and her girlfriend, her wife. Have the emotion there, but not as specific as you might have been writing for a record. It’s fun to leave it so the audience can figure it out.

JR: Vintage tracks are getting requested a lot by supervisors, it doesn’t have to be famous, but best if recorded and released going back to past decades. This is good news for older people who made music in those years and set it aside. Let’s bring it up, polish it up and try to market it. Are you running across this?

CM: Yes, authenticity of the genre and era is very important. The authentic stuff can make a difference.

©2019 Julius Robinson


  • Green Book (Dreamworks)
    The Blue Jays - “So Long Lover's Island”
  • Ghost In The Shell (Dreamworks)
    Tim & Puma Mimi - “Ohayo Baby”
    Tim & Puma Mimi - “Acchi Koochi”
    Suzuki Sayaka - “Yes-Yes-Yes”
    Suzuki Sayaka - “Shooting Star”
    Suzuki Sayaka - “Ribbon”
    Kanda Yuhka - “Changes”
  • Fear Of The Walking Dead (AMC)
    King George & The Fabulous Souls - “Baby I've Got It”
  • Shameless (Showtime)
    Future Villains - “Bullets in the Wind”
    Maudlin Strangers - “Overdose”
    T. Hill - “Haters Get Mad”
    JJ & The Real Jerks - “High Anxiety Society”
    27 - “Gullfoss”
    The Soul's Release - “Ever Alone”
    The Max - “Boys Will Be Boys”
    Brian Talenti - “Falling”
    Groove State - “Do You Want My Love”
    Darling Parade - “Never Fall Down”
    S.o.stereo. - “What You Wanted Me To Do”
    Shawn Hook - “Dirty Little War”
    The Stanley Blacks - “Glow”
  • GLOW (Netflix)
    Natasha England - “Captured”
  • Grown-ish (Freeform)
    Trapstar Mafia - “Seat Pushed Back”
    Mohamed X - “Black”
    Doug Simpson - “Numb”


More than any other time in recent memory, films/TV/ads/streaming media are seeking authentic “vintage” – yet affordable – period songs.

We’re not talking about the obvious famous artists and tunes from past decades. Sinatra. Aretha. The Stones. Tom Petty. Prince. Producers are looking for vintage tracks that are great quality and capture the time period — but never got famous. And they need an affordable one-stop licensing deal with a fast turn-around.

These shows are asking for the exact year of the recording and/or release date. Sound-a-likes – songs recently written and produced that sound like the era — do not seem to be good enough to give their shows the authenticity their producers are insisting on.

“Stranger Things” on Netflix is a good example. The first seasons are set in the early 1080’s – prior to 1984 to be exact. So they are looking for authentic music that can be tracked to those years. Among the famous songs used in season two were The Romantics “Talking In Your Sleep” and Scorpions “Rock You Like a Hurricane.” Other shows like Glow, Young Sheldon, The Goldbergs, and This is Us also use vintage 80’s music. recently placed Db Night – “Nobody Thrills Me” in episode 202 of the female wrestler show Glow. Db Night was based in Detroit during the Metal/Punk/New Wave trend of the early 1980’s.

Another show featuring vintage tracks is American Gods on Starz. also placed a classic late 50’s vintage track “Ah Ha” by Baby Washington who came out of New York in the late 50’s but never achieved the fame of a Dionne Warwick — who Washington was often compared to.

The good news is that music once considered “dated” or “passé” is now in demand. The quality of the writing and producing must be excellent – or at least indicative of the period. Many of the 50’s Doo-Wop tracks reps has some record scratch on them. This is not a scratch “sample” artificially stuck in – but because this was the only remaining recording and there was no new “re-mastered” version. We have placed these in films/TV and media projects were authenticity was most critical to the scene.

In conclusion, music written and recorded decades ago still has value. You just need to be able to authenticate when it was written, produced and/or released to the public.

© 2018 Julius Robinson for Music Supervisor Report


Dylan Dunlap, 22, L.A. native, is making waves over and over again dropping these wonderfully immersive experiences that he calls songs. LiarLover is the newest release of this so under-rated but so over-appreciated musician. Dunlap bridges the much-needed gap between Pop, Americana and an Indie Rock band. This seasoned artist cut his teeth as a street performer honing his craft and developing his sound that gained attention and praise from Apple Music, Kobalt, Chipotle, Yahoo Music, Live Nation, Korg, Shazam and more. Touring extensively wherever and whenever he can, Dylan has opened for some  notable musicians, most recently OneRepublic. Music is one of Dylan’s most powerful outlets, using it as a platform to bring awareness to mental health issues and the importance of asking for help. “I want to represent the people who don’t feel seen and heard. I have felt alone too, but want others to know, that’s not the case” says Dunlap. If you’re looking for that song you can blare in the car and sing at the top of your lungs, here’s your guy.

Sounds Like: OneRepublic, Coldplay, James Morrison
Inspirational, Emotional, Upbeat, Driven
Video: LiarLover (Acoustic Live)

Moontower is a name you’ll surely not soon forget. Bursting onto the scene this year, this three-piece group from USC is reminiscent of that Electro-Pop band you wish you had heard of in high-school, because they would have for sure made your “party playlist”. Their first single, William, released early this year introduced you into Moontower’s world of oranges, thrift store shopping, ninjas, and roller skates. Their live performance, indie pop anthems, and ridic live shows caught the eyes and ears of some killer other artists that led to some legit bill share times with Bad Suns, Colouring, Magic Giant, and YUNGBLUD. The group draws inspiration from St. Vincent, Justice, and Portugal. The. Man. With some severe danceability, these guys always deliver a solid good time that make even your dads dance moves palpable.

Sounds Like: Thumpasaurus, Vista Kicks, JUSTICE, BAUM, courtship.
Vibe: Energetic, Fun, Anthemic, Electronic
Video: Episode 1: PILOT

Jazzo got us playin’ her on repeat. This RNB goddess give us so many feels with her vibey, sensual, urban folk, and old school sounds that takes you back to the early 2000’s. This Dancer/Choreographer knows what it means to deliver powerful visuals with her sultry specific sounds. A Baltimore native, she recently returned from tour supporting Grammy nominated artist Bernhoft on his The Fashion Bruises Tour. She’s been nominated for a list of accolades over her performance lifetime for her unique vocal looping and live production skills. With the mantra “Words. Movement. Sound”, we think this represents Jazzo to her core. Her song “Down Under the Sea”, paints a beautiful picture of her dark, smooth and sexy world. This eargasm definitely will have you swiping right for all the right reasons.

Sounds Like: Ashanti, Erykah Badu, Jill Scott
Vibe: Sexy, Groove, Mellow, Chill, Emotional, Soul
VideoNightmare – Blue Jones Ft Jazzo

Wild Planes is gonna be your next favorite pre-gaming go to band. This pop rock band from New York is catching fire all over the U.S. Good Morning America, Ryan Seacrest and ABC News seem to be in agreement that is some good sh*t right here. The groups catchy rifts have you engulfed from the beginning and spit you out at the other side with the chorus already memorized and the shame of the embarrassing, all too real, recollection of the Tom Cruise “Risky Business “scene you totally just pulled. The hints of Maroon5, anthemic vibes, and sudden need for a beer bong sure to prove a one of a kind listening experience. These rad dudes have toured all over the fest playing various festivals like MusikFest and Rocklahoma. We definitely give these guys at least 3 thumbs up.

Sounds Like: Maroon5, The Womabts, Atlas Genius
Vibe: Funky, Wild, Upbeat
Video: Come Over To My House (Official Video)

TOMKAT is soon to become a name you’ll start seeing pop up everywhere. This electro-pop band out of Denton, TX is fronted by powerhouse female vocalist, Katrina Cain and if you’re watching The Voice this season, you know who we’re talking about. Their recently released album “Icarus” swoons with ethereal vocals, brooding melodies and dark synthy vibes. The band are seasoned SXSW official showcasing artists and have had major traction with the likes of HuffPost, BalconyTV, and SoFar Sounds. They’ve played some killer festivals and shared the bills with some major heavy hitters. We have a soft spot for the eerie and shrouded track “Big Love” that was placed in James Franco’s Actor’s Anonymous. TOMKAT’s sound is a high you HAVE to see live. The emotionally building high embibes you and makes you wonder if this is what the female version of M83 could be.

Sounds Like: M83, Phantogram, CHVRCHES, Ellie Goulding
Vibe: Brooding, Dark, Ethereal, Longing, Nostalgic
Video: Drowning (Official Video)


The US music industry is on pace to generate $43 billion in revenue, matching the prior peak in 2006. While Music Publishing, Licensing and Music Ads are flat, consumer Concerts and Music Subscriptions are at all-time highs. * Citi GPS

Artists’ share of that music revenues is small.

In 2017, artists captured just 12% of music revenue with most of the value leakage driven by the costs of running a myriad of distribution platforms — AM/FM radio, satellite radio, Internet distributors augmented by the costs (and profits) of the record labels. * Citi GPS

Spotify to begin allowing direct deals to indie artists

That’s the good news but the bad news is that independent artists won’t be paid the same as the major labels. That is something no one seems to be mentioning. Equal pay for equal plays should be the way it works. It’s not. We will keep you posted.


Helping people can be a surprisingly complicated thing to accomplish. At first blush, lending a hand sounds like the most simple of exercises – just find out what a group needs and get it for them! Right?

Ugh…wrong. Unfortunately. When our founder Barry Coffing and I started talking about creating a way to support and evolve musician’s careers nine years ago, we quickly realized that “help” means something different to every musician. We quickly realized that undertaking that mission meant developing multiple programs that addressed the major common threads through any musician’s needs but also some that were specific to each career’s position in their specific vertical. This seemed a daunting goal.

But we also had our first epiphany. Regardless of content, there was one common commodity that every artist needs to grow: information. And we instantly realized our broad goal was to connect artists with the best minds we could find in the music business. Since that realization, we’ve put top industry professionals on professional development panels in front of hundreds of musicians every year. We call these events The Band Bootcamp and we execute one at every Springboard Festival around the United States.

A close cousin to Band Bootcamp is WeGet Networking.  A localized, year-round professional development program, WGN hosts events that connects artists with the businesses in their community that support and service them. Today, that means consistent, community-building events.

But tomorrow’s even more exciting. We’re building an online resource that’ll act as a city’s one-stop information center for music professionals. Need a recording session tomorrow at a trusted (and possibly discounted) studio? We’ll offer half a dozen options.

Our third program is our Fair Play Certified program. Fair Play certification guarantees that all of the music played at participating locations has been tracked and reported. The music creators and rights holders have been fairly paid for the use of their compositions, recordings and performances. Look for the sticker at certain Dunkin Donuts today and around the world tomorrow.

These are modest efforts towards a goal that only ends when artists stop needing help. So, you know, forever! But we’ve carefully considered every project we’ve undertaken and are proud to have touched so many in the process…after almost a decade since we took our first steps.


Dylan Dunlap
Springboard 2018
Opened for One Republic in front of 50k fans

Of Sea & Stone
Springboard 2018
Bose Sponsorship

Springboard 2017
Management Deal & Sponsorship

Paper Pilots
Springboard 2017
Opening Slot on Ok!Go! Tour

Springboard 2017
Production Deal & Opening Act

Halston Dare
Springboard 2016
Millions of Instagram Listens

Korbe Canida
Springboard 2013
Film Placement

Bobby Lyle
Springboard 2013
Film Placement

Springboard 2013
Distribution Deal

Chase Hamblin
Springboard 2013
Radio Play & Interview

Jesse Roach
Springboard 2013
Manager, “American Idol”

J Shep & Standard
Springboard 2013
Recording Contract

EmJae Ross
Springboard 2016
Production Deal

Springboard 2016
Production Deal

Len Knox
Springboard 2013
Live TV Performance & Interview

Mohamed X
Springboard 2018
Song placed in the hit TV show “Grownish”

Love Past Blue
Springboard 2018
Signed to Guns N’ Roses manager & Slot on Warped Tour

Springboard 2017
Multiple Endorsement Deals

Ships Have Sailed
Springboard 2017
BalconytvLA Appearance

Matt Grady
Springboard 2017
Producing A Single

Love Past Blue
Springboard 2016
Management, Production Deal & Documentary

Hazy Ray
Springboard 2013
Radio Play & Interview

Prime Example
Springboard 2014
Film Placement

Ashley Tomen
Springboard 2014
Film Placement (End Title)

Springboard 2014
Radio Play & Interview

Aaron & Ashten
Springboard 2014
Radio Play & Interview

Lucas Jack
Springboard 2015
Radio Play & Interview

Crawford Brothers
Springboard 2015
Management, Balcony TV

Lost Element
Springboard 2014
Radio Play & Interview

Decory Brown
Springboard 2018
Featured on Fox’s “Showtime At The Apollo”

The Frets
Springboard 2018
Landed recording/producing in Nashville by Billy Smiley (5 time Grammy Award Nominee & co-writer on 27 #1 hit songs)

John Lindahl
Springboard 2017
Signed to Elsium

Springboard 2017
Production Deal

Springboard 2017
UK Radio Play & Film Placement

Jamell Richardson
Springboard 2014
Film Appearance

Fifty Dollar Dynasty
Springboard 2014
Radio Play & Interview, Film Placement

Jordan Coffing
Springboard 2014
Balcony TV, Radio Play & Interview

A Tribute To The Sun
Springboard 2014
Steamboat Amp Endorsement

That Boy Zarius
Springboard 2014
Film Placement

Andrew James
Springboard 2014
Radio Play & Interview

Springboard 2015
Film Placements, Radio Play & Interview

Dustin Prinz
Springboard 2014
Radio Play & Interview

Sami Murphy
Springboard 2018
Opened for Little Big Town and Hunter Hayes

Springboard 2017
Major Label Distribution

Steff Neff
Springboard 2017
Mixing by Dale Pennar

Zac Person
Springboard 2016
Reality Show & Fender Endorsement

Kenna Danielle
Springboard 2014
Radio Play & Interview

M16 & The Full Moon Wolves
Springboard 2015
3 Film Placements

Curse & Cure
Springboard 2015
Radio Play & Interview

Korbe Canida
Springboard 2015
Film Placements, Radio Play & Interview

Avenue Of The Giants
Springboard 2015
Production Deal

Fifty Dollar Dynasty
Springboard 2015
Film Placement

Late Friday
Springboard 2015
Production Deal, Radio Play & Interview

COMPOSER CORNER: Ceiri Torjussen

Music Supervisor artist Ceiri Torjussen recently composed and conducted a brand new ‘Space Album’ for Audio Network, which was recorded at London’s Abbey Road Studios. The album will be out soon, but find above a track “Singularity” from the session, which features strings, woodwind, piano and electronics.

Competition for composers is fierce these days. How did you get the job?

It was with a director, Vaughan Sivell, whom I’d worked with on two previous films – the documentary Mr. Calzaghe (about Welsh boxing legend Joe Calzaghe, which Vaughan directed), and The Canal (an Irish/UK horror film which he produced). I was in preschool(!) with Vaughan, but literally hadn’t seen him in over 30 years. I didn’t know him at all (after our friendship as 5 year-olds!), but he wanted to work with more Welsh people, and realized that I was a film composer, so he tracked me down. And he we are, 3 films, and 35 years later!

How much creative freedom did you have scoring the documentary? Was there a temp track?

Vaughan is very open-minded when it comes to music, although he did have a strong temp score in Pistorius that he’d worked on carefully. Vaughan is a real fan of film music, and so had quite strong opinions as to how he wanted the score to sound. With that said he was very open to me bringing my own ideas to the series – how I thought we should ‘play’ the various stages of Pistorius’ life. In that sense it was a very collaborative and creative process, although my primary job was to move the story along and support the tension, darkness (and occasional moment of levity) in this dark and sad tale.

Pistorius’ Character is multilayered and in many ways contradictory. Which aspects of his personality did you transfer to your own score?

I have no idea! It’s true to say that he is ‘mulitlayered’. I don’t think that one can ever truly get inside the mind of a living person (unlike a fictional character, which you can make of what you like). If the person is real, and alive, ‘underscoring’ that person has unique challenges. It was important for me to ignore what I thought I knew about Pistorius (which wasn’t much), and just address what was on screen in a musical way. With that said, I don’t think I ever consciously thought about how to ‘score’ Pistorius as an individual. I was just repsonding to the story as presented on the screen. I hope that makes sense…

How many drafts did you deliver?

Many! These kinds of projects tend to be on a cue-by-cue basis. However, there was a radical shift during my time on the project: Initially it was intended to be a doc feature film, but I was told, halfway through working, that it was turning into a 4-hour docuseries, so I essentially had twice as much music to write as I’d originally anticipated. This was slighly daunting to say the least!

Did you work closely with the director or was there a PP supervisor / editor / music supervisor in between?

Directly with the director. And essentially only him. This was a luxury I must say.

What is your personal perspective on Pistorius biography and his trial? Did this opinion influence your creative process?

I’d prefer not to share my personal opinion. Since it’s a documentary I’d prefer to let the audience decide for themselves.

Which libraries did you use? Do you master your own tracks or is that done by an external studio / sound mixer?

By ‘librarires’ do you mean ‘sample libraries’? I did all my own mixing and mastering on this project.

Are you satisfied with the way your music was placed in the film? Would you have made different decisions if you would have had creative freedom in regards to music editing?

Yes. I was very satisfied. I believe they used every minute of the 3.5 hours of the final score that I delivered.