Last database update: 10/21/17 at 4:38 pm MST
 
 
Home 
 
News & Info 
CA Industry News 
NetNews 
Lefsetz Letter 
Encore Newsletter 
Industry Profile 
News Archives 
 
Search & Connect 
Agents 
Artist Avails 
Box Office 
Celebrities 
Managers 
Record Labels 
Talent Buyers 
Tour Dates 
Tour Promoters 
Venues 
 
The Street 
Box Office Scores 
New Releases 
Events Calendar 
Industry Links 
Billboard Charts 
VitalSigns 
 
Industry Postings 
Agent Postings 
Buyer Postings 
Avails Postings 
Classified 
 
Update Center 
Submit Data 
 
Support Center 
Report Data Errors 
Research Requests 
Technical Support 
Contact Us 
Opt-Out List 
 
Video Demos 

 
 
 
Legend
Email
Exclude this person from RapidAccess Emails
Tour Dates
Details
Non-Exclusive Agency Representation
Historical Tour Dates
   
 
CELEBRITYACCESS

Administration & Sales
Ph: (303) 350-1700
Fax: (303) 339-6877

Data Management & Technical Support
Encore/General Editorial
Ph: (860) 536-5700
Fax: (860) 536-5713

Mailing Address
Post Office Box 817
Stonington, Connecticut 06378-0817

   


CelebrityAccess

Advertisement
  

  Industry Profile




Industry Profile: Ann Kline

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Music supervisor Ann Kline, owner, Casa Kline.

Ann Kline may not be able to recall the year she was blissfully wed, but she can slice through a thousand music tracks to snag the music cue she heard a year ago that is now needed for a TV series she's working on.

A high-flying independent music supervisor in Los Angeles, Kline has recently been working on such leading TV shows as "Shameless," and "Under The Dome" as well as the recently-axed ABC series, "Black Box." In addition, she's overseeing music for two new TV series, "Battle Creek" and "Aquarius."

For much of her career until 2010, Kline headed the music department for John Wells Productions, a Los Angeles-based company that produces such top-flight TV shows as "Shameless," "ER," "Third Watch," "Wing, “Trinity," and such feature films as “White Oleander," "Nearing Grace," and "The Company Men."

As well, has Kline supervised music for the TV series "Studio 60 on The Sunset Strip," "Pan Am," "Harry’s Law," and "A Gifted Man" and worked on such films as "20 Dates," "The Babymakers," "Suicide Kings," and "Jackie Brown." .

After earning a B.A. from the University of California, Los Angeles, and a Juris Doctor degree from Southwestern University School of Law, Kline worked as an attorney at the music department of the William Morris Agency dealing with a lot of the same legal issues that face a music supervisor including copyright, licensing, and performance rights

Her legal background has been invaluable in her career as a music supervisor responsible for finding the music for TV shows and films, and clearing the necessary licenses. It gave her the legal grounding, and vocabulary to conduct negotiations at every level of the entertainment industry.

What television projects are you currently working on?

"Black Box" we finished. “Under The Dome,” I am just finishing up. I am working on “Shameless." It won't start airing until January. I'm also working on two new shows. One is "Battle Creek" created by Vince Gilligan and David Shore that is produced by Sony Pictures Television. It's going to be on CBS as a mid-season show. I am also working on a show "Aquarius" which is a period piece (starring David Duchovny) that takes place in Los Angeles in 1967, the "Summer of Love." It's going to be on NBC as a mid-season show. I think it is a (13-week) mini-series, maybe. I don't know if they have determined that or not.

So you are wearing flowers in your hair?

It is such an amazing show. I am so excited by it.

That '60s period was such a wonderful time for LA-based music with the Sunset Strip happening.

Oh my gosh. Amazing. Every genre. It has been such a cool experience.

There were local bands like the Doors, the Byrds, and the Seeds happening.

Yep. We are using a lot of the Seeds.

And there were Chicano rock bands in East Los Angeles like Thee Midnighters who covered "Land of a Thousand Dances." Have you heard their version?

I totally have. The series has been so much fun. It's funny because it also gets you into such a state of mind when you do something like this. You dress a little bit differently. I think that I’ve washed my hair a lot less (laughing).

You are no longer exclusively working with John Wells Productions?

No. I still work with him all of the time, but I’m not exclusive to him anymore. “Shameless” is John's only show on TV right now. So I do “Shameless” for him.

Do you work from your home?

I could work from my house, but I come into an office every day. In my office, I am surrounded by music. This workspace that I have, it just works so much better for me. When I'm at home, I am much more easily distracted. Just by weird little things. Like, I think of my home phone so differently than I think of my office phone. I don't know why. It's almost like contaminating it to make a business call on it. I do work from home, sometimes, if I have to or depending on meetings because the studios that I work for are in all different parts of town. Sometimes, it's easier to be at home. But, for the most part, I am much more productive at work.

Well, you can listen to music anywhere.

My sound system is way better at my office.

How do you listen to music?

I import everything into my iTunes, and I keep it all on a separate drive that I can take everywhere with me. Then I play it on my iTunes on my laptop through a Bose sound system.

How do you charge for your work? Would you, for example, charge more for a pilot? I would because of the additional work load and stress.

I would too, but that's not how it works. I have so many friends in different aspects of the TV business. In wardrobe, in casting, and whatever. The pilots for them are great. I guess they get paid more. It's just a one time thing usually, (for them). For a music supervisor, it's not the case (of getting paid more). I don't know if it's just me. I think that it's pretty set across the board. The thing is, and I think most of us feel that it (music supervising) is such a job of passion. Once you read it (a script), or talk to the director, whatever it is--and I probably shouldn't say this--but I’m in. So when they say, "I only have this much money"--I'm like, "Are you sure?" But I'm already in. It's already in my head. I already love it.

When someone wants a favor with a substantially lowered rate it never works out. Better to turn the work down or do it as an unpaid favor.

Every time that I do a serious favor, it turns into the biggest nightmare. Let's just call it a favor. But yeah.

Is there a standard rate for supervising music or do some supervisors get higher rates?

Some people do get higher rates but, even in saying that, there's not that much difference. I think that what makes a difference is having a show on the air for a long time.

Being in demand.

That definitely it as well. When you say, "I just can't," they somehow can find more money. But the thing that is great is that you will usually get a bump (salary raise) every season. So if you are lucky to have an "ER," by the end it's a great gig. You can use that rate (to negotiate new productions). I can say that on “Shameless” for the first season, we were so crushed (in budget) that I did it probably on the lower end (of the pay scale). By the end of the season, John was saying, "You end up scoring it (the show), let's find a way to make it more fair." It all works out if you work for good people, I think.

How do you balance having multiple shows in production at the same time?

I honestly like it so much better when I have a lot of shows at once because you just get into the groove of listening to music all of the time. For "Aquarius," obviously, I'm listening to tons of period music. So when something comes up in another show, like they will want something for Frank (Gallagher) for “Shameless”-- "Hey, what's a great '60s song that we can use for Frank in a scene?" or whatever, that becomes the easiest thing to do for that. When I need punk or something for another show, I have so much of it from “Shameless” that I know exactly where to find it, and it works. Everything seems to come together. I’m better when I work on a lot of shows.

With a television pilot, there's high expectations from the executive producers, the studio, and the network. Everybody wants everything right because they want the series picked up. That's a tough challenge for you in overseeing the music.

Pilots are the hardest, hardest assignments. I probably do two or three pilots a season, and most don't get picked up. It is so arduous, and so intense. So much is on the line for those shows. The burden is so heavy, especially in post production. You are all that is left. Music is one of the few things that can change (a show). It's almost always up to the (musical) mix. At the mix (sessions), you are still changing (the feel of the show). The studio comes in, and the network comes in. They have these notes, "This scene feels slow" or "In this scene, I don't feel that they are in love." The only thing that you can really change, except changing the mix of the score, is to change the song. It's so hard that I can't even tell you. It's hard to not lose perspective as well. You are like, "I thought that this song was amazing. Is it not amazing?"

A frayed nerves time?

It really is. But I did a pilot this season called "Clementine" which, I think, might get picked up as a summer series for ABC. It's still in limbo. But it was a brilliant experience. The writer Dean Georgaris, the director Michael Dinner, and myself were all so much on the same page musically. it was a great experience. We talked about it (the music) right from the script. We went back-and-forth with music throughout the whole process. It really was, in terms of the music, easy in post production. They shot it with the songs in mind, and everything worked really well. It was a great experience. That's definitely not the norm. Dean is more of a feature writer, and he's very into music. He's brilliant with music, and he knows so much about it. So I think that had a lot to do with it.

[ABC Studios' "Clementine" centers on habitual criminal Clementine Ross (Sarah Snook) who digs in to the mystery of her origins after she becomes the target of a group of zealots who fear she possesses latent supernatural abilities that she will one day harness for either profound good or monstrous evil.]

The misconception of TV licensed music is that sync fees can substantial but you and your peers work with small budgets.

Yeah, very small. Sometimes it's liberating when you know that you can’t have any big songs. That you know that we can only afford one major label song an episode. I don't mind that. It is more work, and sometimes dealing with independent people can be a little scary. Or you are educating an artist or a writer or whoever it is about licensing.

Are new artists or songwriters aware that they may be low-balled on a television synchronization license, but might make it up on performance right (as writer and/or publisher) when the show is broadcast?

A lot of very independent artists don't have any idea of performance income or they have the wrong idea. I find it so fascinating that you will get into discussions, and explain it to them, and hook them up with ASCAP or BMI or SESAC, and then you find yourself half an hour into a conversation about getting it right.

That there are two licensing negotiations on the table. One for the master rights; the other for the music publishing rights.

Exactly.

How often have you tried to pick up a song, and the rights aren't cleared or there's another writer or publisher not mentioned in the negotiations?

All of the time. It happens less than it used to. There must be more professional companies pitching independent artists. Whatever it is. But still once or twice a season, I will run into one of these problems. It’s always because you have been misled. About 90% of the time, there's been a miscommunication. It's nobody's fault. Nobody did it (misled) on purpose. You realize that, but if one of the writers is with Major publishers) EMI or Sony or whatever, it is a real problem when your entire fee for a song is $1,000.

Often music supervision is about trying "get us a song that sounds like this song which we don't want to pay for."

Yeah. I did "Pan Am" which was fascinating in that way and now with "Aquarius." It is sort of the same thing that we do for “Shameless." We use tons of indie bands that we can afford, but also it makes more sense for the series anyway. That (indie) feel is organic to the series. But I have found the same thing has been true decade after decade. There are all these amazing artists that aren't the major label artists or they were on smaller labels that got bought by these licensing companies or whatever. You haven't heard these songs but they are authentic to the time and they are awesome.

“Shameless” has been a groundbreaking series since it began airing in 2011 using music by independent bands like Spoon, Ra Ra Riot, Superchunk, Airborne Toxic Event, Earlimart, Rosebuds, Exitmusic, and Wavves. Some episodes have up to 30 songs where a regular hour-long drama might have five.

A lot of that comes out of that not having a composer. We do use a lot of music but it's not like 35 featured songs (per episode), for sure.

[Showtime’s drama "Shameless" follows a struggling working-class Chicago working-class family, the Gallaghers. When John Wells, began pitching the show, he had to fight efforts to locate the show in the American South or in a trailer park. He explained, "We have a comedic tradition of making fun of the people in those worlds. The reality is that these people aren't 'the other' – they're people who live four blocks down from you and two blocks over."]

As the majority of the "Shameless" episodes don’t use a composer, all the music heard is licensed music. That's different than "West Wing" where an episode often wouldn't have music.

Sure. It's such a different model than that. It kind of came out of when we were trying to find the sound for the show. The way that John works is sort of like that we will sit together in editing for ages just trying different things. Seeing what works. Usually, we are working with a picture editor, and we are trying existing scores to see what works. We never even tried a score in it ("Shameless"). We were just using different indie bands to figure out the sound, and then we thought we would go to a band and ask them to score. By the time that we finished the temp, we were so happy with the way that it sounded, and John was really nervous about having a score written for the show would just eventually fall into more of a melodramatic role. These characters so don't feel sorry for themselves. John just feel that there's no room for that in the series. So we just kept going with it.

Music has been used to greatly expand the Gallaghers' character.

I think that it has helped show that they are really unconventional and independent thinkers. I can't think of any of the actual Gallaghers or any of their close group would listen to Top 40. They do what they do. It's funny because a director might come in with a song that they chose, and we will try to get it into a scene. It feels a little oddball. There was an episode last year where Debbie (Emma Kenney) is doing the Dance Dance Revolution (music video) game. We put in an iconic pop (song) to what she is dancing to. It's so funny to see her because she's such a fish out of water in that atmosphere, and with that music. It's just not what you normally see. So it (music) can be really effective using it the opposite way as well.

Does the geographic location of “Shameless” being in Chicago come into play in picking music for the show?

Yeah. We definitely listen to a lot of local Chicago bands. But it's really more about the song itself than trying to fit it in because music is so global now. Everyone has an IPod or an IPhone. Everyone hears music from all over. Even more so if you are a kid in a not so great area. You might music more on the internet than in your neighborhood anyway.

From the theme song "The, Luck You Got" by the Detroit trio The High Strung, the music in "Shameless" is what these kids would listen to. None of them are mainstream. They probably don't go to stadium shows. They are club goers.

You are exactly right.

TV shows are usually produced, packaged, and shipped out quickly. A film may not come out for a year or more. There's more of an immediacy with the music used in television.

Yeah. It definitely depends on the show. Sometimes we are right up against the air date. Everything that I’m working on right now is for mid-season. So I can’t say that this is going to air next week on “Shameless.” It’s not as immediate, but it still is (for me) because of the way studios work you are still going to finish it, and mix it. In some ways, it’s more helpful when it’s super immediate. With “Under the Dome,” I could say this episode is going to air on July 23rd. So it was easy to tie into things. In a marketing sense, that’s a great way to approach music when you don’t have a lot of money because it’s a win/win. I wish we had more of that with the shows.

With “Aquarius,” it doesn’t matter, obviously, but for the other shows that I am working on it’s nice when you can tie into a release or something like that or know it’s supposed to be a super popular song, and that it is. Instead of guessing six months into the future. But aside of that, regardless, TV is much faster-paced than film. In some ways that makes you more creative and, in some ways, it limits your creativity because you can’t have something written specifically for the show or explore many options. You have to make it happen.

You also have to make it happen quickly. If you can’t get a piece of music you want, you have to replace it immediately.

Exactly. You might be researching a song that you really want to use, and you see that there are six writers, and that they all come from different companies. You think, “Well, how is that going to happen? It might but we better have a backup.”

Does working in cable give you more freedom and flexibility than working on a mainstream network show?

Absolutely. Just not having to worry about the language is a big, big plus. From working on “Shameless,” I completely forget all of the time (about lyrics). I was doing an ABC family show "The Lying Game" a few years ago, and it would blow by me all of the time. We used quite a bit of music. Sometimes I would pull something from “Shameless.” Hearing bad words in a song didn't mean anything to me because I was so used to it. Thank God they would ask for the lyrics every week. You have to send them to Standards and Practices (the network department responsible for the moral, ethical, and legal implications of the programming that network airs). I would look at the lyrics and I'd go, "My God, we have to pull the song. Or we have to flip that word or take it out."

In her interview with me at Canadian Music Week in Toronto recently, songwriter Diane Warren told me about her song, "I Don't' Want to Miss a Thing" being used for a blow job scene in the 2002 film "The Sweetest Thing." Any similar experiences?

A company that I work with a bunch, we were having a meeting about something and they were saying that one of their artists said to them something like, "We were so happy to have a song in '“Shameless”' until we saw this scene where she's pulling out this giant dildo, and sodomizing somebody." I was like, "Did I not mention that?" As I said, you get so desensitized. I try to be much better in my scene descriptions, but some times you do forget.

Licensing recorded music for television and film is a relatively new business.

When I first started, it was really the giant soundtrack era for films, but it was not something that people thought about for TV at all.

When did you start music supervising?

I started supervising in '95.

You did "In Cold Blood" in 1996.

"In Cold Blood" was a TV movie. But I did a bunch of TV pilots for John. I can't remember what they are called. And then a series called "Trinity" (1998) where John just said, "I think that music should be as good as everything else in our television series. As good as the acting and the sets and everything. Music is really really important." So I did that series for him, and then we just kept doing more and more TV. He was one of the first, I think, show runners to think that way.

I think Michael Mann's "Miami Vice," which ran on NBC from 1984 to 1989, paved the way for contemporary music on TV.

Yeah, that's true.

One of the pioneers of music in film was the late John Hughes. You grew up loving music, and watching his soundtrack-driven films like "The Breakfast Club," "Some Kind of Wonderful," "Sixteen Candles," and Pretty in Pink."

Oh my God. I think that has so much to do with loving this job. I will watch his movies every time that they are on. They means so much to me. All through high school, you'd hear those songs, and you would daydream.

I can almost imagine scenes from "Sixteen Candles" because of the music used.

Absolutely, yeah. I think that was so so so formative. He was amazing.

Are those pitching you music aware of your requirements, and the characteristics of the shows you are working on?

The people that I deal with consistently are very aware. But there are a few outside (the entertainment business) or new people to the game or artists themselves who will say, "Hey, I sent you that song. You said that you liked it. When are you going to use it?" Or something like that. Truly. It is as if we had time to listen to every single thing; then write an email about it; and then use it. In general, people don't know what the process is but I think, that every year people learn more and more. Certainly, the companies that I deal with the most--and there are so many of them now--really truly do understand.

Do some just shoot blind, and hope for a song placement?

People have become much better about absolutely understanding what we are working on, and what the needs are. You are right. It used to be more like, "Hey, I heard that you used this song." I would get the craziest things. Like, "You have a character named Abby, and here's a song called 'Abby.'" Just crazy stuff. It's super easy to research now. You can watch a show online. You can run through a few episodes. Showtime does a great job with their website. You can look up every episode of “Shameless” and see every single song; listen to them; and really get a feel for the type of music that is mostly used in it. That helps.

Once you have short listed a song you then have to focus on the quality of the selected music. Often versions aren't great quality.

I remember a long time ago when I first started supervising certain companies or certain bands would be like, "If we know you are using it, we will send you a DAT. The master that we want you to use." It never happens anymore, but it used to be much more common.

In some ways it is easier with a period piece because with the way that it plays on screen, it doesn't have to be as clean as a pristine digitally remastered (version). I have run into that a lot on period shows. That they (the master recordings) haven't been cleaned up or remastered. But also sometimes the music editor will tell me because they listen to it on such a better sound system, and they are really tuned into that. I can send them the five songs, and then they might come back to me and say that this master has clicks on it or it's not good (quality).

Outside of studio input, final say on music on a TV show is with the executive producers. You may have 5 directors in one season. A film production is a more collaborative than a TV series. Very different approaches to overseeing music.

They are very, very different in that respect. With a lot of the shows that I work on though, there will often be three EPs (executive producers), sort of a show runner, a director, and a writer. Or sometimes they are the same person, John Wells writes, directs, and is a special runner. He definitely has final say. A lot of the time, the EP will be a director, and they direct the biggest episodes and the directors, in-between, come and go. Most show runners, most EPs, try to be very respectful to their directors. Every show that I have worked on, we take the director's suggestions and ideas super seriously, and we will always place a song for their cut and listen to it and then decide, based on if it works for the show and the budget and everything else, if we can use it.

With film there might be a dozen separate entities focused on music depending on what the financing is or what the studio is. At what point do you get fully involved with a film?

Every film is different. Some are really post production heavy. You aren't looking at a lot of on-camera performances, and stuff like that. The films that I have done more recently--and I haven't done a ton--have been where the director, and I have had a super close relationship. So I have known about the project since they started on it. I will have had the script from the beginning, and we are sending music back-and-forth, and talking about it from the start. I don't know if that is typical. I don't do big studios films. So I can’t even speak to that process.

Go back to a time when you did do big studio film. In 1997, you worked as a music coordinator on "Jackie Brown," "Cop Land," "Dangerous Ground," and you worked on "Suicide Kings" as a music supervisor. How was it back then?

I would have to say that even back then the films that I did we definitely started in post production. "Cop Land" we had started earlier because there's a lot of on cameras. He's (Sylvester Stallone's character) obsessed with (Canadian pianist) Glenn Gould and there's a lot of piano pieces that had to be picked ahead of time. But the majority of source (music) really played as source. It was put in after. With "Jackie Brown" Quentin (Tarantino) wrote all of the songs in. So even though we were in pre-production it was there. Every song was scripted. He's amazing.

Opening "Jackie Brown" with Bobby Womack's "Across 110 Street" was so incredible.

I know. It's brilliant. It read exactly the way (in the script) that it looks. It's crazy because a lot of times in films and TV you will read and there's music scripted in and you will picture it in your mind. "Oh, I can see how that could work." But a lot of times, it doesn't work at all in post (production). You put the song in, and it doesn't play the way that it was envisioned. Maybe it's because the writer, and the director had different visions. Whatever it may be. In that film, it was mind-blowing how every single thing worked. That's the mind of a genius.

You went to Beverly Hills High School with Lisa Brown and PJ Bloom who are also music supervisors.

It's funny about the three of us. We were in the same grades in high school, and I think that we were all born within three days of each other. I know we are all early May.

What was it like attending Beverly Hills High School?

It's a big public high school. But I had a real good experience there. I loved it. It was great. We had a DJ that played at lunch, and there were a lot of people really into music. All different kinds of music. I have three brothers. They all went there. You could walk to school. There's a big artist culture in Beverly Hills, obviously. So I think that inspires that (environment).

After high school, you went to UCLA for a B.A. in what?

Art history. I love art. It was sort of that I had no idea what I wanted to do after college. I loved going to school there.

Well, you could travel through France, and visit the great museums.

That's what I did first. Then I came back (to Los Angeles) and it was the middle of a recession and there were no jobs in art. And people weren't buying art.

So you returned to school?

I went to UCSD (University of California, San Diego) for my first two years and then transferred to UCLA. My parents were definitely, "Follow your heart. Go to a great school, and do what interest you. But I think also in the back of their minds was, "She's going to go to law school, eventually."

So it was preordained you'd go to law school?

Maybe in a small way. Two of my brothers are lawyers. But when there weren't a lot of jobs, my dad said, "You either have to find a job or go back to school."

Your father Norman Karlin was quite a famous academic.

Thank you for bringing him up. That's so sweet.

[Norman Karlin, a member of the Southwestern University School of Law faculty for nearly 35 years, passed away on in 2004 of natural causes.

After serving in the U.S. Army during World War II in both Europe and Asia where he earned the Bronze Star and Purple Heart, or Karlin completed his law degree at the University of Chicago in 1949. He practiced law in Chicago for more than two decades, specializing in zoning and land use law.

In 1970, Karlin moved to Los Angeles and joined the Southwestern faculty where he became one of the key architects of Southwestern's Conceptual Approach to Legal Education (SCALE), an intensive two-year program of study leading to the Juris Doctor degree. He taught in SCALE from its inception in 1975, covering virtually every aspect of that curriculum with a main focus on Constitutional Law, Contracts, and Law and Economics. In the traditional program, he taught Contracts and the Private Property and Eminent Domain Seminar. He became Professor of Law Emeritus in 1997.]

Your father taught at Southwestern for nearly 35 years.

Yes, and he was a great attorney before that. My oldest brother Louis (Karlin, a deputy state attorney general from Los Angeles) just won a U.S. Supreme Court (search and seizure) case. All of my brothers were super into music, and influenced me my whole life.

Were you still living at home during college?

I did. I lived at home all through UCLA, and all through law school.

You got to travel to school every day with your father.

Yep. We would often drive to school together. It was one of the best times of my life for sure.

It's Tuesday afternoon, and you are in Professor Linn's copyright class at Southwestern and...

How do you know all this?

You are learning music...

Copyright.

Copyright. Not quite a riveting subject to study.

I thought it was riveting. I really did. I think it had a lot of influence on me. My first summer after law school, I clerked for a judge in criminal court which is what I thought I was going to end up doing, and it was so intense. By the end of the summer, I knew that was absolutely something I could not do. That’s when I switched my focus to entertainment (law).

In Linn's class even when he would talk about "rear window." I was really excited about my first song that I had to clear for "rear window." It was like, "This is really happening."

What's a "rear window?"

"Rear window" is a term used to describe copyrights that can expire, and the author’s heirs would have to renew it. It’s named after the (1954) film, because that’s the case that determined the law. The basic idea is that back when copyrights were for limited terms, if they expired and the author had died the rights would revert to the heirs. But, know one really know who the heirs are until the author has actually died. Anyway, this doesn’t happen anymore, because US copyrights are for life of author plus 70 years. I was clearing "Piano Man" for "ER" and it was one of these "rear window" songs so Billy Joel’s daughter (Alexa Ray) was the likely heir and, as her guardian, he signed off her.

You graduated in 1995.

I think 1995, yes.

Did you work for a law firm before joining the William Morris Agency?

I started working for William Morris when I was in law school. I had worked for a law firm I think, while I was studying for the LSAT (the admission test for law school). I started working for William Morris sometime in my second year of law school.

Did you start at William Morris in the mail room as many did in that period?

I always worked in the legal department. I had a lot of friends in the mail room including my husband (Josh Cline) when I was at William Morris. When we were just dating, he was in the mail room at ICM.

At William Morris, you were handling licensing and rights issues?

What I did pretty much exclusively was deal with the legal aspects of the touring contracts. It would have to do with liability issues, exclusivity, and insurance. All that kind of stuff. It was a lot of dealing with (promoters) Bill Silva and The Nederlander Organization and a lot of fairs.

A great job but not necessarily a job for a person as creative as you.

Exactly. You are exactly right, and it was not for my personality. I would drive to work every day psyching myself to call these promoters, and argue about the language of the contracts. I am still kinda shy, but I was so shy back then. I think in the beginning, I didn't even know who these guys were. I read a music industry book where it said that "on the music industry scale even lower than lawyers are concert promoters."

Would you be looking for liability issues in the contact?

Yeah. Making sure that the indemnification was definitely the most important thing. Also, things like a proper force majeure clause (a contract provision that allows a party to suspend or terminate the performance of its obligations when certain circumstances beyond their control arise, making performance inadvisable, commercially impracticable, illegal, or impossible). Just making sure what would happen if our band showed up or if they didn’t ,and if it was raining. Part of how I got the job was that they needed someone. William Morris owns Lollapalooza and I think there had been a giant accidents at one of the early Lollapaloozas. So they were so entrenched in that they needed more help.

Your husband Josh has something you haven’t yet got, an Emmy.

Thanks for mentioning that (laughing). Maybe this (Music Supervisors) Guild will be able to change that. The music supervisors just started a guild, and one thing they are lobbying for is for music supervision to be recognized by the academies.

A proud moment when Josh received the Emmy?

So proud. When he was starting Sample Digital, the company that started this digital delivery of dailies, our lives were insane because we would both be in pilot season. Every single day there'd be somebody calling that the dailies aren't there. It was a month of non-sleeping stress. It was crazy. But I am so proud of him.

[In 2013, Josh Kline won a Primetime Emmy Engineering Award for overseeing the development of, patenting, and bringing to market Digital Dailies, revolutionizing the review and approval process in the film and television production industry.]

Josh is now at the Box, the Silicon Valley-based cloud content management firm, as Head of Media & Entertainment.

It's cool he's at these companies that I use so much. I use Digital Dailies almost every day and I use Box all day long, every day.

Is Josh still trying to get a film version of "Star Blazers" off the ground?

He is. (Director) Chris McQuarrie, that's his next project, I think, after he finishes "MI5." So that will be exciting. Josh has had that property since we started dated. We got married in '97 or '98. I can't remember. We started dating in '91. Shortly afterwards, he optioned that. Right away Walt Disney Pictures was interested. Then almost 20 years later, it's still chugging away. It's been a crazy process.

Do you watch your work when it's on television?

Usually. It depends on how many times that I have already seen it. Something no matter what, I will watch. If "West Wing" is on TV, I will watch it because I am just so obsessed with that show. I love watching “Shameless” as well. Almost everything I will watch. You also want to hear the mix.

Do you sometimes think, "What the hell was I thinking when I did that?"

I will look at a group of songs that I have suggested a year ago or so that I remember being excited about. I will have a scene where they have asked for a dance club number, and "We have no money." I will think, "I have that nailed. I just did that last season." I will listen to the songs, "What was I thinking?"

Can you enjoy a TV show or film without focusing on the music?

Absolutely, yeah. I can get lost in something. When something is not good, it's harder to get lost in. But when something is great, and it's all working I totally get into it. Or I will be so impressed by something. Something like "Pitch Perfect," the (2012) film about a college women's acapella singing group.

Tell me about the magic of finding a piece of music after a long search and the moment you sync up the music, and you think, "Oh my God, it's perfect." A cool feeling?

It's the best feeling. It's really special. And then you just hope that your aren't crazy, and everybody else will feel the same way.

You call your assistant into your office, and say, "You gotta see this!"

Hundred percent. That's exactly what I do or I make Josh watch it if I am at home.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.

He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.” Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.


Top of page
Pricing Enroll Contact Us Advertise With Us
Please let us know if you find information that is incorrect or missing.
CelebrityAccess/EventWire is best viewed at a minimum screen resolution of 1024 x 768
Website Use Agreement
© 1998-2017 Gen-Den Corporation. All rights reserved.
CelebrityAccess® is a service mark of Gen-Den Corporation.
Privacy Policy