Students’ questions and insightful answers were in abundance at the clinic presented by Ann Kline and Sarah Sheehe, music supervisors for such shows as ER, West Wing, and Studio 60 on the Sunset Strip.

For more than an hour, Academy students were thrilled to have direct access to the pros, learning how to get a foot in the door, earn income and gain broad exposure by licensing their music to film and TV.

The two collaborators first met when Sarah went for a job interview. “Aside from being very bright, she knew the difference between publishing and master recording, so I hired her on the spot,” Ann says gleefully.

Easygoing and personable, Ann and Sarah thoughtfully coached the Academy’s students throughout the clinic, with questions and conversation flowing well into the evening.

Judging from the students’ ovation, theirs was time well spent.

The clinic began with a remark by Ann. “Hey — great shirt!” she said upon seeing the ‘I Love ASCAP’ t-shirt worn by one of the Academy’s students.

Ann: People are music supervisors because they love music. We listen to music all day long. Every project is different, and if we like something and it’s right for a project, we’ll drag it into a file — “this is great for something we’re working on.”

Sarah: The main bulk of the work we do is post-production. After they have a studio cut, we do a ‘spotting session’: we sit with director, writer and composer to run through the show and discuss what kind of score they want.

Ann: It’s one of the most fascinating parts of our job: the music or picture editors will come in and audition music with the scene to see if it works. We use bands and composers we know for the temporary score a lot, and that’s a good way of getting a job, if they fall in love with the temp score.

Ann: More and more it’s great for independent artists because it opens up the doors in such a bigger way. Before, if it wasn’t a top song, our producers just weren’t interested. Now they’re all for it: almost 90% of what we use now are independent artists.

Sarah: We need great indie bands, and once you’re in with a music supervisor, and they know and like you, they’ll consider you for everything. You’re on their shelf.

A question from the audience: “When we work on a film, or with students from other universities or colleges, do you recommend we get paperwork from them?”

Ann: Yes, absolutely. If you’re writing music together, definitely have an understanding “we’re going to split this 50-50” — whatever your agreement is. Also know if they have a publishing deal.

Sarah: Don’t submit something if you don’t own 100% of the copyright or if your co-writer isn’t on board. You want to protect yourself, and be able to prove it.

Ann: It could be that you wrote the greatest song, but if you’re in a big fight with your co-writer and they won’t agree to it, don’t pitch it. You’ll only get one chance if you’re not honest and upfront.

Sarah: Definitely sign up with a performing rights society and register your work. They’re helpful in other ways, also. There are people who can pitch to music supervisors on your behalf.

Ann: Once you feel sufficiently protected, then yes — absolutely, put your stuff out there and send it to people. It’s yours.

Ann: If your song is put in a TV show, commercial or film, you’ll receive income every time it airs. That’s worldwide, by the way. If it plays in Portugal, you’ll get paid.

“And if a TV show goes into syndication?” another student asks.

Sarah: An episode of ER, for example, will air many times. More than fifty.

Ann: You get performance income and gain exposure. TV is a lot bigger than radio, and this is how people find the bands that they like now — by watching shows. It’s been great for a lot of bands.

Your songs are complete, registered and ready to go…so how to ensure your music makes it to the top of the ‘listen’ pile, and not the ‘round file’?

Ann: In terms of getting your music to filmmakers and advertising companies, there’s as many ways to do it as anything else.

Sarah: There are many independent companies out there that can pitch your songs to people like us.

Ann: Companies who ask for upfront money, or take writers credit for you song…I can say for the most part it’s an unfair practice. I would think twice about doing it. I don’t know why people often don’t take their publishing seriously, but it’s a very, very serious thing.

Sarah: That’s where you make money. And that’s forever.

Ann: Yes, so research before you sign with anyone. There are many independent pitchers who are really reliable and well respected in their field.

Sarah: Also, meet people and network. Mixers, artist showcases…any entrée you can get is a great thing. It’s really all in your approach.

Ann: Start composing and build a reel. Work with film students. Maybe they’ll get noticed and become a big director or writer and were always a fan of your music and owe you a favor. It can be a shot in the dark, but sometimes a shot in the dark will work.

Sarah: A lot of actors are musicians and have bands, so you never know who you might meet.

Ann: Get out there, perform as much as you can and get your music in people’s hands. And be passionate about your music. Because at the end of the day, it all comes down to the quality of the song.