Hi, if you have arrived on this page, you are obviously trying to secure a licence.
We understand the objective is to secure a licence and we hope you that you understand that our objective is to make the system as streamline as possible.
Contact us at firstname.lastname@example.org. We will send you a Music Request Form and ask you to “please fill out all the yellow fields”. The form that we send you is in the excel format, and the reason for this is so that we can import the data into our licence database. Please do not convert it to PDF or any other format or we cannot import the data.
Please do not fill out the form out in a hurry and please do not assume that we don’t need information that we have asked for. If you have have included some of the information as part of a previous email please do not expect us to go and find it (just put it on the form).
No film title = no license
No address where we can find you = no licence (PO Box number not good enough!)
We need to know who the licensee will be
REGARDING THE TYPES OF SYNCH DEALS:
These are few and far between. Normally only for PSA’s and registered charities or for artist / composer endorsed pet projects.
Here we negotiate the going rate – a commercial rate and you pay the agreed fees.
So you are looking for a festival licence and assuming $500 a year is reasonable for X track.
This would be for a maximum of 2 years but it could be renewable (for an additional fee).
With festival licenses our artistic criteria are lower than with commercial works because we want to encourage film makers BUT that is a double edged sword.
It may mean that a festival licence is granted but a commercial release licence is denied. Particularly after we see the film, we may decide not to license the rights commercially.
Generally we do a festival license and agree to negotiate commercial rights in good faith. Once we have all the details we submit the request to Management and the Artist/Composer concerned. After that it is up to the Artist/Composers and Management teams to consider. If they deny permission then there is no appeal.
STEP DEALS AND HOW THEY WORK
Regarding what a commercial fee would be, a song like X would command a fee in EXCESS of $100,000 depending on the rights required. In some circumstances we can look at step deals but where we take a risk on your film for lower fees plus financial steps.
The returns, IF your film became a Blair Witch or Bend It Like Beckham, would need to be in excess of $100K if all the steps are triggered. IF we agree to a step deal it will always be on our terms most of which are non-negotiable.
STEP DEAL EXAMPLE
|Stages||Payment Steps||Payment Trigger
in Million $
|1||Initial Payment||on signature||$7500|
|2||When the film grosses||2||$10,000|
|3||When the film grosses||3||$15,000|
|4||When the film grosses||5||$20,000|
|5||When the film grosses||10||$25,000|
|6||When the film grosses||20||$30,000|
|7||When the film grosses||35||$35,000|
Steps are always based on Gross Receipts not on Box Office. The industry has changed and most films make a significant portion of their revenue from streaming services such as Netflix or Amazon.
We base the triggers on reports from industry journals and websites like IMDb or rottentomatoes.com – The obligation will however be on you to report the step triggers
Sometimes we turn down requests for artistic reasons, sometimes moral reasons and sometimes its because they clash with our own creative or commercial endeavours or existing contractual arrangements with our current clients and/or trading partners.
If there is a refusal it will be for one of the above reasons BUT we never supply reasons and decisions are final.
We hope that clarifies our way of working. Once we get the revised music request form we will submit it to management and the artist.