![]() ![]() Obviously, if that film goes on to be hugely successful, we often don’t get any additional income. So, you could be a massive artist using a tiny film, and the film company won’t have to pay much money for it. “When we charge - and this is widely known in TV and film - we base it on the film budget. Just like the director gets paid, the makeup artist gets paid, we have to be paid, but it is a very fair transaction,” says Miles, without disclosing details. So, how does the sync business model work? “First of all, we obviously get paid when a song is used. “That was a great way not just to introduce it to new audiences, but also change the band’s perception of the way these things can be used,” says Gallacher. Led Zeppelin’s “Immigrant Song,” for example, which Warner Music distributes, was featured in Thor: Ragnarok and its teaser trailer, leading interest in it to spike on various platforms. So it has been really fascinating to see this acceleration.”ĭon’t ignore films as a big potential driver for interest in catalog music either, the executives highlight. we just had the BBC and ITV, and the sorts of dramas they were making didn’t really use music in the way that we see music being used now. “If you rewind 10 or 15 years, in the U.K. “We have seen this increase in interest in music,” he notes. He sees the rise of global streamers and other digital platforms as having opened up all sorts of new opportunities for music and artists. “We all saw that and thought gosh, if ‘Running Up That Hill’ is used in a similar way, we are in for a treat,” Miles recalls. , which used Limahl’s “Never Ending Story,” which Warner Music distributes. Kate is always very careful with what she does, and she takes time to look after her catalog and wants to make sure that it is presented in the right away.” “And we are working with DSPs, the likes of Amazon, Apple and Spotify, to encourage their editorial teams to promote curated playlists spanning Kate’s incredible wider catalogue. “There has been a big lift across all the catalog,” including the likes of “Babooshka” and “Wuthering Heights.” “So people have been going and exploring the rest, which is great,” highlights Gallacher. They must have had some backups, but I’m sure this was their absolute favorite.”Īs is often the case when older songs go viral these days, the interest in “Running Up That Hill” has led consumers to searching for additional music from the artist, too. This is probably the longest TV negotiation I have ever seen, because they had to get it right. And it took about two years to really talk through with Kate and her team what this was going to be. And because the music was so crucial to this scene, they had to know whether the song could be used. “It’s not like advertising where we get a very quick ‘Can we use this song?’ and we have to work out if we can and if they can afford it,” explains Miles. Warner Music and Rhino distribute music from Bush’s label, Noble and Brite.īehind the success was a lot of hard work, as sync deals traditionally don’t happen overnight. “But we have never seen anything like this in terms of getting a number one record,” adds Tom Gallacher, senior director, digital & marketing at Rhino, Warner Music’s catalog arm. and Europe, at Warner Music Group tells The Hollywood Reporter. “TV in general has exploded in the last three or four years, because of Netflix, Amazon Prime, Disney and because everybody else is trying to get into this space,” Tim Miles, senior vp sync, U.K. (In 2021, sync royalties for licensing songs in media including TV shows and movies totaled $302.9 million, up 14 percent from $265.2 million a year earlier.) The success of the integration has put a renewed spotlight on sync (or synchronization) deals, which place music into TV series, films, video games or other content, and which have been energized by, among other things, the growth of streaming video services.
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