How To License Your Music Into Film & Television – Mick Lloyd – Entertainment One – MUBUTV

How To License Your Music Into Film & Television – Mick Lloyd – Entertainment One – MUBUTV


Ritch: Hi we’re back at Sync Summit, we’ve
managed to catch up with Mick Lloyd who’s the head of music licensing for Entertainment
One. Mick, thank you so much for joining us I really
appreciate it. Mick: My pleasure. Ritch: Now, you’re the head of the music licensing
division for probably the largest independent music entity in the business. Can you talk about what’s the state for the
licensing today for the independent community? Mick: It’s really important to us because
sales of hard product have really fallen off. So when they say it’s the new A&R it really,
really is. And we’re very aggressive about it and we
do quite well. We have four people devoted strictly to that
and we’ve built a lot of good relationships with supervisors in film, TV, commercials
and what have you, video games. We really go after it, and it’s really important
to us, in every sense of the word. It’s a big revenue source. It’s a big revenue source from a fee standpoint,
but even more importantly, it’s a big revenue source in terms of spiking sales following
the sync, and we try to concentrate more so on that than we do on the initial fee. Although it’s great to hit home runs, but
if you hit four singles, you’re going to hit a home run, so that’s our viewpoint. Ritch: Now you’re based in Nashville, for
the sync licensing. Does that affect the ability to license music
for entertainment one? Mick: Not at all, actually it’s really better
for us because we’re a little more insulated. We have five offices actually. We have two in LA, two in New York, one in
London, actually six, one in London, one in Toronto, and then we have Nashville. The sync division headed up in Nashville,
we work out of Nashville, and we are kind of more insulated and really can do pretty
much what we want to do, and pick and choose what we want to go after. We don’t have that situation where for example
the head of the R&B department in New York or the head of the rock department want you
to pitch this or want you to pitch that. We really choose to go after what we think
we can sync, and we have a lot of freedom so that really works for us. Ritch: You know, it seems that in the film
and TV licensing area, there’s a lot of, I guess a lot of growth with independent artists
within the last 10 years, and I’m curious, do you see a greater willingness in the sync
world to license a broader variety of independent artists than you have in the past? Mick: Well, I mean our major artists, it’s
hard to call someone like Moby independent, it’s hard to call Warren Zevine independent,
it’s hard to call P.M. dawn independent. So to me, there’s no difference whatsoever. I mean they are all considered major artists. Steve Earl, just running a list, our hip hop
division, people like DJ Khaled, Dorrough, DJ drama, what have you. So when you say independent, again, I don’t
even know what that word means. Ritch: Well, I guess you sort of clarified
it with regards to name artists. What I meant is lesser known artists in the
sync world is there willingness for that today? Mick: Yeah, I think there is from the standpoint
of lesser revenue kind of syncs. You know, no one is going to pay $50,000 for
a sync for a new artist. On the other hand they may pay $1,000, $1,500,
$2,000, what have you, and there is a willingness to do that because they are looking to save
money also. So yeah, I think that is certainly true. And we do rep artists who aren’t on a label,
per se, if we really feel that they’re sync-able, if that is a word. They will never be artists because they’re
really songwriters, but their stuff is master quality, and so we have artists that do well
that way. We get a lot of syncs with people like that,
and then we see some sales as a result, you know on digital, iTunes, what have you. Certainly it won’t last as long as it will
for like a Warren Zevine, or whatever, but there’s still a spike. That’s what’s really important. I think a lot of people overlook the sales
as a result of the sync and focus too much on the fee. Ritch: As opposed to the after effect. Mick. As opposed to the after effect, and to us
it’s the after effect more so than the fee itself. And that’s the way that we are different than
publishers, and that’s where other problems come in, because publishers, I think, are
more focused on what that initial fee is. Ritch: Sure because they don’t have the master
side. Mick: Exactly, they don’t have that master
side. So you run into some problems there. And the MFN issues come up, because sometimes
they come up to high and they blow the sync for you, and there’s not enough synergy between
the labels and publishers, to where there should’ve been. Ritch: You had mentioned before that Entertainment
One is in a lot of areas in film production in television production in video distribution
in music distribution, do you find that in the sync world that you’re able to place a
lot of the Entertainment One music into projects that you’re involved with in film and in television? Mick: Well there should be more of it actually,
in some cases we do well in other cases we strike out and what I think is happening there
is a lot of supervisors don’t want to feel that they are being told what they have to
use so that creates problems secondly some of them feel that because it’s a sync company
the music should be free and they don’t realize that you have to pay artists, you have to
pay whatever and so they can’t understand why its not gratis, and we have that problem
a lot. And then there are others who actually will
give us a first crack at a show. So actually I would say it breaks even. The end result is really not an advantage
because we probably have the same result outside, or actually more outside than we do inside. So it really isn’t the advantage that people
think it is, although cosmetically sometimes we claim, or put the feeling to people that
we have an advantage, but in reality we don’t. Maybe some of the people in the top, top levels
would hate to hear me say that, but in reality they know it’s true. Ritch: Let me ask you, I’ve always been curious
for companies like yours in any sync department that you run, how do you determine what you’re
going to charge as a sync fee for a particular project? What are the criteria you use? Mick: Well a lot of the times, if it’s a significant
sync, and you have a relationship with that supervisor, they kind of give you the guidelines
of what it should be. Other times you just go with your gut, and
it depends on what kind of media its going to be, how long it is going to be, where the
territory is, what the term is, what kind of product it is. I mean we’ve had some massive ones; I mean
those are always great. But even the ones that aren’t are great too
because its kind of like, as I said hitting singles doubles triples home runs whatever. It’s like being an artist because I started
out as an artist. And I loved hearing myself on the radio it
was a thrill each times no matter how many times it happened it didn’t happen enough,
but I loved it when it did happen. And now when we get a sync it’s a good one
and it’s a rush, I can’t say it’s not. It really is a rush, particularly when they’re
great one like Warren Zevon in the closing montage of house, or Zevon in the closing
montage of blue bloods. And it really is a rush to see it and to know
its coming, you know it really is. So I love that. But in terms of financially, you hope you’re
in the ballpark if they ask for just a flat quote, and then you hope that the publisher
goes along or is close with you in terms of what happens there. Because we’ve lost some, where they’ve gone
crazy and asked for double of what we wanted. And the supervisor if they really want the
song will come back and say are you wiling to waive in the MFN and you’ve got to be really
careful with that because if you do, you can get type cast as someone who is always willing
to buckle. So you’ve got to be really careful with that. But we have on a few occasions, because it
was really an important sync, and we were going to make that money on the back end. But Cyper Publishers, I’m not going to mention
any names, sometimes they are just crazy. We even had one where it was a Kraft Lunchables
sync, and there were two publishers involved, and they couldn’t agree on the split. They just couldn’t agree what the theme should
be and we knew what we wanted. You know the MFN fee, Kraft wanted it so badly,
and I don’t know if I should be mentioning Kraft, but they actually paid two publishing
fees for it. Which was crazy, it was insane you know Ritch: So those things happen Mick: Yeah, but they wanted it so badly, it
was a great sync actually. And it really did work, but to have faith
to double what they wanted to pay was a little nuts. Ritch: Mick I want to thank you so much, I
really appreciate it.

2 thoughts on “How To License Your Music Into Film & Television – Mick Lloyd – Entertainment One – MUBUTV

  1. Well, I could use a bump… Hear me on the AMI internet jukebox at premium drinking dives…. New project > Jake Blake Blues Project> drink and listen…. What kind of film would want one of my tunes…? Hard to tell….

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