Independent music supervisors have been in a long-standing battle with streaming giant Netflix. The issue at hand is the use of pre-existing music in Netflix productions, which independent music supervisors argue is taking away opportunities for them to source and license original music for the platform.
The problem lies in the fact that Netflix has a large in-house team of music supervisors who are responsible for selecting and licensing music for the platform’s original content. This includes popular shows like Stranger Things, The Crown, and Orange is the New Black. The in-house team has access to a vast library of pre-existing music, which they often use in their productions instead of commissioning original compositions or working with independent music supervisors.
This has led to a decrease in opportunities for independent music supervisors to work on Netflix productions. Instead of being able to source and license unique, original music for the platform, independent supervisors are being passed over in favor of the in-house team’s pre-existing music choices. This is not only detrimental to the independent supervisors’ livelihoods, but it also limits the diversity of music available on the platform, as the in-house team may not have access to the same range of artists and compositions as independent supervisors.
A freelance music supervisor, states that as a group, they are considered gig workers and therefore must handle their own insurance and pension plans.Despite the vital role they play in curating music for shows and suggesting songs, music supervisors are struggling to receive the same level of pay and benefits as their unionized peers
Another freelance music supervisor says, “In Hollywood, the majority of on-set workers are covered by a union, receive support from a union, and have their pay and schedules standardized by a union. We simply wish to be on the same level as our peers in the industry.”
In order to address the issue of inadequate pay and benefits, a group of freelance music supervisors, led by Lindsay Wolfington, have recently taken steps to join the International Alliance of Theatrical Stage Employees (IATSE), a union that represents crews in film and TV productions. They have made a formal request to hold a union certification election with the National Labor Relations Board.
IATSE has announced that they are directing their unionization efforts towards Netflix as it is the leading employer of music supervisors in the industry
Furthermore, the use of pre-existing music also limits the creative possibilities for Netflix productions. Original music compositions can be tailored to fit the specific needs and themes of a production, whereas pre-existing music may not always align with the creative vision of the production team.
Independent music supervisors have spoken out about this issue, arguing that Netflix’s in-house team should not have a monopoly on the music selection process. They believe that there should be more opportunities for independent supervisors to work on Netflix productions and contribute to the platform’s music landscape.
Netflix, on the other hand, argues that their in-house team is necessary to streamline the music selection process and ensure that all legal and copyright requirements are met. They also argue that their in-house team is able to provide cost-effective solutions for obtaining music rights, as they have access to a large library of pre-existing music.
However, most music supervisors argue that this cost-effectiveness is not worth sacrificing the creative possibilities and diversity of music that they can bring to the table. They believe that by working with independent supervisors, Netflix productions would have access to a wider range of music styles and genres, and that the creative possibilities would be limitless.
This clash between independent music supervisors and Netflix has sparked a larger conversation about the role of independent supervisors in the entertainment industry.
In conclusion, independent music supervisors are clashing with Netflix over the use of pre-existing music in the platform’s productions. Independent supervisors argue that the use of pre-existing music is taking away opportunities for them to source and license original music for the platform, and that this is limiting the creative possibilities and diversity of music available on the platform.
Netflix, on the other hand, argues that their in-house team is necessary to streamline the music selection process and ensure that all legal and copyright requirements are met. Independent supervisors are fighting not just for their own livelihoods but also for the diversity of music and creative possibilities in the entertainment industry.
Over 50 articles on “Sync Music Licensing” by Composer Tommy Mac: https://syncmusic.substack.com
