10 Humor List Top
What is it about the spy genre that’s so fascinating? The action? The adventure? The fact that spies can assume any identity, use any gadget and sleep with random strangers without any health reprucussions?
Okay, that last part was a joke. But you have to admit that movies lead exciting lives that the rest of us can only envy.
So here are the top 10 best spy movies. This took me a while to make, because I’m not really a fan of the spy genre, but I think movies belong on the list:
1. The James Bond movies: You knew this would be on the top. James Bond is so popular that he’s still making movies.
2. Austin Powers: I actually like Austin Powers more than James Bond, because he eventually realizes that the 60s swinger ways are out of touch and yet he remains true to himself. James Bond never changes — except when he’s being played by different actors. Besides, what villain is funnier than Dr. Evil?
3. The Bourne movies: I actually haven’t seen any of these movies, but everyone I know swears by them.
4. True Lies: This movie answers the question of what James Bond would be like if he was actually a family man keeping his real job a secret — and played by Arnold. Also includes a hilarious performance by Jamie Lee Curtis as the spy’s clueless wife.
5. Charlie’s Angels: While I don’t normally like remakes of TV movies, I like Charles Angels because it’s the only spy movie that has women being butt-kicking spies.
6. Spy Kids: Yes, it’s a kiddie flick, but what kid doesn’t fantasize about being a spy at some point? While the sequels got silly, the original one was pretty good.
7. Undercover Brother: A parody of blaxploitation movies, Eddie Griffin plays Undercover Brother, the Shaft version of Austin Powers, who joins up with the secret society of the Brotherhood to stop “The Man” from taking over the world. Despite the humor, it does have a solid message of unity.
8. Our Man Flint: I haven’t seen this, but it’s one of my dad’s favorites. It was actually the first movie to parody James Bond, and without it, we never would have had Austin Powers.
9. Mission: Impossible: Another remake of a TV show starring Tom Cruise as Agent Ethan Hunt. If nothing else, it gets credit for its famous theme music.
10. Harriet the Spy: I guess Harriet technically isn’t a real spy, but hey, we all used to make believe as kids. And since this is my list, I say it counts.
What are your favorite spy movies? Have any other suggestions, or specific Bond movies that should have been mentioned? Feel free to share your thoughts. And I hope everybody had a happy Halloween!
While the subject of sales from an artists point of view is considered quite a bleak one, the Twilight film series figures are most certainly not. What has that got to do with anything you might ask? Well, the sound track to “The Twilight Saga: New Moon” sold 280,000 in 10 days stateside. Paul Katz, a music consultant who worked on the soundtrack with Summit Entertainment and Chop Shop/Atlantic Records noted that artists who wrote and composed songs for the film could expect a “six-figure income stream” from participating in the project.
Specifics were not detailed but still, this is an example that highlights the importance of publishing as a source of income for songwriters and also justifies the 360 deal for record companies. But how do you get a piece of that pie, what of the independent artist? Singer song writer Pi Jacobs, whom herself has had over 40 music placements or ’syncs’, highlights below how she has achieved success.
Top 10 Tips, Pitfalls and Tricks for the Indie Artist who wants to license music to TV and Film
by Pi Jacobs
1. Write and record the best music you can, with all the passion you can muster:
Even though I’ve written and licensed pieces strictly to fill a show’s need, it’s the songs that I’ve written for myself that seem to get placed time and time again. I believe this is because I put a little piece of my soul into these songs, and people invariably respond to that.
2. That said, they always seem to need songs for fights and car chases:
I’ve had a good time writing and producing some fight/ chase pieces even though it’s pretty far from my “chick singer- songwriter” genre. I’ve had some licenses for these pieces, and I find my fans also enjoy this “alter ego” material as well.
3. It’s about relationships: Anyone who can license your music is a human being with their own problems, tastes, and stressors. Always try to be a person they enjoy dealing with. A sense of humor, and professionalism will make them want to work with you over anyone of equal talent who is unpleasant.
4. Spines and Formats:
Most music supes prefer either digital files or jewel cases that are easily stored and catalogued by the information on the spine. Sometimes they will request specific audio formats (192 k Mp3, or .wav or AIFF). Yes, this is a pain. And yes, you should do the work to deliver it in the format that they have requested.
5. Send only songs / pieces that fit the search request:
If a supervisor has requested a certain type of song, don’t send them anything that doesn’t fit their description. It will only piss them off, and they may take you off their request list. Supervisors don’t usually explain their needs in technical music terms, so spend some time listening to any songs they reference, and try to understand what they (or their client) means when they say “I need something that sounds green and gooey, but not too aggressive, with bagpipes”.
6. Slice that pie:
If you co-write, agree with your collaborators what your song splits will be before you write a note. I find it saves friendships and legal fees to split things equally, regardless of how much each person contributes to the writing process.
7. Administer:
It’s also wise to agree ahead of time to let one of the collaborators “ administer” the publishing. More than half of a music supervisor’s job is to “clear” the song, and he or she usually has to do it in a hurry. Having one “administrator” will expedite your clearances, while having to have 4 signoffs on a song can be a deal killer. In fact, most music libraries and TV shows won’t deal with anyone who doesn’t control 100% of their work.
8. Give to Get:
“Never give up your publishing” was the motto I was instilled with when I first started in the music business. While the basic idea is still a good guideline, I have found that I’ve had success with the philosophy, “Never give up your publishing without a good reason!” It sometimes makes sense to do deals where you give up some publishing, in order to get a deal done.
Example: My first licenses were through a producer to whom I begrudgingly gave 25% of the publishing on our album. The shows he got me placed on still send me royalty checks. Later, when I started producing my own material, I was able to call these shows, and further my relationship with them because they already had used my music and I was a known quantity. In the end, 50% of something is better than 100% of nothing.

That said, If someone is offers to rep your music in exchange for part of your publishing, or up front fees, make sure they can deliver, and are going to earn their cut. Talk to people they’ve worked with. Google them. Look at how many recent placements they’ve had. Make sure they know how to work with your genre, and are passionate about your music. There are a lot of scammers out there that make money off of struggling, desperate musicians. If anything feels off, go with your instincts and say no. Personally I never work with people who want large up-front fees, because I feel that they should be financially incentivized to get you those placements.
9. Do #8, But Be Non-Exclusive:
Unless you are getting a very large sum of money and national exposure, you should retain the right to sell that music to someone else. I’ve found that some songs get used over and over again in different shows and films. It takes a long time and a lot of money to write and record a great song. If you have one you should be able to exploit it in as many ways as you can.
10. Do the Hustle:
If you live in LA, everyone you meet is a potential licensor! Otherwise, there are many good online services that can get you started. MusicSupervisor.com or FilmMusicNetwork.com are a two good ones, but there are several, , just make sure you do your research.
What will you make? This is a great and mysterious question, and the answers vary wildly: Upfront fees can range anywhere from $1 (many reality shows pay nothing, but generate royalties!) to $15,000 (this would be for a well-known act, with featured usage.).
Royalty income can be zero to hundreds of thousands, depending on the type of usage, the network, the number of reruns, and international uses. Royalties take about 9 months from the date your music airs to get into the system and be paid. Ask your PRO (that’s Performing Rights Organization, you do belong to ASCAP, BMI or SESAC right?) about how royalties are calculated, and be prepared for some very advanced mathematics.
The key to succeeding in music licensing is to get as many placements as you can, with the highest possible profiles. Hustle well, and best of luck to you.
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