Music in TV Pilots: Sales Tool or Strategy?
Among the myriad of challenges in creating a successful television pilot, selecting the right music is frequently the most overlooked. From the score, to songs, to the perfect main title theme, there are many different elements to consider, and one question that defines them all: What is the most effective way to use music to sell a pilot, while still establishing a sound for the entire series? As a studio executive or a music supervisor, where should (or shouldn't) you compromise? With music budgets shrinking everywhere, where do the funds go a skilled composer or a recognizable Lady Gaga track? Is there an opportunity for aspiring composers to save the day?
Amanda Krieg began her career in the music department at Lionsgate, first in Business and Legal Affairs, followed by Film Music and Television Music. There she worked on films such as "The Winning Season" and "Warrior," and television projects that included "Blue Mountain State" (Spike), "Running Wilde" (Fox), "Nurse Jackie" (Showtime), "Mad Men" (AMC) and several pilots. After three years with the department, Amanda tackled the unscripted world at Reveille Studios. In addition to coordinating music on "The Biggest Loser" and "MasterChef," she music supervised two cable television shows: "Commercial Kings" (IFC) and "One Born Every Minute" (Lifetime). Earlier this year Amanda made the transition back to films at leading music supervision, production and soundtrack company, Format Entertainment, as Music Coordinator for Julia Michels ("The Big Year," "Diary of a Wimpy Kid: Rodrick Rules," "Alvin and the Chipmunks: Chipwrecked!," "Sex And The City," "What's Your Number?"). In addition to her roles at Lionsgate, Reveille and now Format, Amanda has also music supervised the films "Moonshine Inc." and "Head Over Spurs In Love" and operates the music blog, Tadpole Audio.
EXECUTIVE DIRECTOR, MUSIC
Executive Director of Music, Daryl Berg is responsible for Reveille’s music strategy, expanding the music portfolio and building licensing properties across platforms in scripted, unscripted and digital productions.
Berg previously was Director of Music for FUEL TV, where he spearheaded music strategy for the network including music supervision, licensing and booking bands to overseeing the network’s music marketing campaigns. Prior to FUEL TV, Berg co-created Crusty Old Timer, Inc., a music supervision and placement company. He also served as Director of Business Development and New Media at EMI Recorded Music.
Berg began his professional career as the minority founder and VP of Strategic Development of The Orchard, a digital and physical music distribution company.
Warner Bros. Television