Since 1990, Amy has been a music producer, sound engineer (studio and location film), published songwriter/performer, radio DJ, artist manager and new media producer. Amy has been responsible for the music production and song licensing for over 300 internationally broadcast television episodes (animated and live action) and over a dozen films. Amy also represents the film and TV composers on the Feldman roster. Previous to her joining the Feldman team, Amy was a Music Supervisor at Nelvana, where she was responsible for the music production/supervision of 13 live-action and animated series and a number of television specials. Amy has worked on Genie, Gemini and Emmy Award-winning productions.
What kind of artists and composers do you represent?
SLFA has a multifarious roster of over 230 artists including: Diana Krall, K-OS, Death From Above 1979, Sum 41, Ry Cooder and Norah Jones. On the film and TV composer side, our department represents world-class and award-winning writers such as Paul Intson, TTG Music Lab, Terry Frewer, Ian Thomas and Creighton-Doane.
How do you identify a song that's just right for a soundtrack?
Usually after a long discussion with the director or creative producer, we determine what a song should be saying and how it should be playing a scene. A song is a device, a vehicle, or a backdrop, and part of the psychological fabric of a scene. Its function could be to play up the romance, pathos, comedy, tension or even horror. A song can change the feel of the scene completely. I usually have a pretty good idea when a song works or doesn't work for a scene but ultimately, the final decision is not always up to me, so often I have to present four or five options for each placement.
What advice do you have for songwriters who think their latest ditty is perfect for the closing credits of Corner Gas?
Find out who licenses music for a particular show (research makes you look like you know what you are doing) and send them your tracks. If there isn't a music supervisor on the project, sometimes it's the producer, director, post supervisor or picture editor who is instrumental in the music selection. Your song has to be a "broadcast quality" recording and when presenting yourself in writing, phone or in person, be as professional as you can be.
What's the best part of your job?
Working with creative visionaries and mind-blowing business talent. The music, film and TV industries are incredibly tough and competitive and by the time I'm hired to work on a project, the calibre of personnel I get to work with is inspiring. I am always amazed at what the composers create and am often blown away by the insight and vision of directors, editors and even executives. So, often as difficult as people can be, they can also be the best part of my job.
What kind of artists and composers do you represent?
SLFA has a multifarious roster of over 230 artists including: Diana Krall, K-OS, Death From Above 1979, Sum 41, Ry Cooder and Norah Jones. On the film and TV composer side, our department represents world-class and award-winning writers such as Paul Intson, TTG Music Lab, Terry Frewer, Ian Thomas and Creighton-Doane.
How do you identify a song that's just right for a soundtrack?
Usually after a long discussion with the director or creative producer, we determine what a song should be saying and how it should be playing a scene. A song is a device, a vehicle, or a backdrop, and part of the psychological fabric of a scene. Its function could be to play up the romance, pathos, comedy, tension or even horror. A song can change the feel of the scene completely. I usually have a pretty good idea when a song works or doesn't work for a scene but ultimately, the final decision is not always up to me, so often I have to present four or five options for each placement.
What advice do you have for songwriters who think their latest ditty is perfect for the closing credits of Corner Gas?
Find out who licenses music for a particular show (research makes you look like you know what you are doing) and send them your tracks. If there isn't a music supervisor on the project, sometimes it's the producer, director, post supervisor or picture editor who is instrumental in the music selection. Your song has to be a "broadcast quality" recording and when presenting yourself in writing, phone or in person, be as professional as you can be.
What's the best part of your job?
Working with creative visionaries and mind-blowing business talent. The music, film and TV industries are incredibly tough and competitive and by the time I'm hired to work on a project, the calibre of personnel I get to work with is inspiring. I am always amazed at what the composers create and am often blown away by the insight and vision of directors, editors and even executives. So, often as difficult as people can be, they can also be the best part of my job.