composeradrian

HZ,

What do you feel has changed the film scoring industry over the course of your career for the better? For the worse?

(Just bought the MoS soundtrack today... great stuff and thanks for being you in the retelling of this story)

I have a bit of background in clearances for musical works. I'm curious what difficultly you've had in obtaining sync licenses for certain songs in the course of your career (especially given that producers/writers/directors/etc. may really depend on getting those specific selections)?

Hi Scott!

How do you manage to attain permissions for all the arrangements you create, as well as obtain all the sync licenses for the music videos? Do you collaborate with publishers and their catalogue, or do the entire permissions process for each and every song?

How has filmmaking evolved in facilitating the scoring process? Better or worse? Easier, faster?

(Loved your work on Ed Wood and Mrs. Doubtfire)

Great insight, and thanks for the reply!