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Everything posted by BryonDavis

  1. He's been chasing this one score i won't disclose. Rights headache.
  2. One of my faves. I pushed Cary for over a year to do this one. When we met with JP he was interested in doing it so glad it all worked out.
  3. I have done both for years. I was a contractor since 2014. I moved on a little bit ago to build NFN up as I wasn't giving it the attention it deserved.
  4. Omega Pictures is the licensor, we paid an advance and we are obligated to pay royalties. Confused by all this but all I'm going to say. Yep. Every release we put out is properly licensed and royalties are paid.
  5. Just because something isn't up digitally does not mean the license is up. Just saying.
  6. It's one I pushed to do for two years BEFORE a certain producer left the company. I like it that much.
  7. This batch won't disappoint. One last thing....Cary deserves a lot of props for doing the things some wouldn't. When I helped him plan out the releases we wanted to get expanded, we looked at what you all kept asking for. Sometimes, we overestimate interest, others it's a situation where we felt fans of a composer would love to see an expanded version of a score (say like John Carpenter's Village of the Damned). Cary taught me everything I know about licensing, publishing and everything else that I was responsible in managing, as an executive at Varese, taught me how a label runs day t
  8. One never knows but I doubt they are interested in high res presentations. I'll be honest. I've been pushing for those types of releases for years. They just do not sell like they should for all the extra money that we need to retransfer and remaster (or possibly remix). Nobody is supporting these types of releases in the numbers they need. I've pushed for SACD hybrid discs so the high res crowd can have that and then the CD crowd can still buy and enjoy but I am always worried they won't get the love they need for the cost it takes to prep one of those discs.
  9. 100% correct. We fought to include that because of the chorus. Correction for the record. Townson didn't own Varese... ever (even though he tells the world he did). Chris Kuchler did until he sold the company to Cutting Edge and yes, the fees for choral pieces are super expensive. Townson also didn't write the checks. Chris did. One little tidbit....ever go to his website or read a presser about him? He writes a lot of that stuff about himself. Up until Cutting Edge bought the company, Varese did not have a publicist. So anytime you see something written about hi
  10. Keep in mind we are working with minimal resources. Studios don't always allow us to change key art covers. The former producer at VS never saved anything, ANYTHING. If Bill decided to go with that as the cover it means we didn't have any alternatives to work from. In the end, Bill always does great work. I am happy we get to credit him on these releases (something the former producer refused to do for whatever bogus reasons he had).
  11. Proof positive why Mike does what he does. He's the best.
  12. We've asked in the past. It's up to the person setting it up.
  13. When you listen to the widget linked here each play is paid by Spotify to the rights holders. On Spotify? Yes. But rights holders give the music to them to stream. Sharing here is legal as long as the links go to Spotify. What? The credit to Mike?
  14. I can promise its not a gray area. They do pay all publishing. This is why sound exchange exists.
  15. True but I do know there is maybe 5 minutes of music that can be added if need be.
  16. The studios showed in the last sale they wanted to invest but did not want to buy. My money is on one of the streaming giants buying the company. Netflix being the #1 and Apple #2. As a shareholder of Netflix, they have lots of cash. Trust me. Remember, they offered something up to 200 million to stream Kong V Godzilla. The ride won't happen if the Broccoli's don't sign off. MGM distributes, covers the budgets and markets the Bond movies. The Broccoli family owns the property, they are the ones that have to approve all the obvious creative/sellable stuff (a ride
  17. Sorry, was answering on a phone and it tagged you. You are always a good guy. The other guy constantly trolls to a point I will usually ignore it but if he bothered to look at the credits on the albums he says he has problems with, he'd see who was responsible. Elfman is what it is simply due to the fact label deals with the majors are manufacturing deals. They will not allow you to do a whole new mix/remaster. All we can do is work with what they have already transferred. I agree. Cocoon was brickwalled way beyond acceptable IN MY opinion. Would never have happened had we
  18. All but one of those were not overseen by us. They were overseen by the former producer. The Elfman master is given to us by Universal Music. Not much one can do with label owned masters. Agree, disagree, no offense nothing i can say will keep you from attacking me.
  19. Depends. I'd say 60 to 70% of sales volume is in the first month. As far as unit sales most of the time you will sell about half of the number announced within the first year.
  20. Honestly...the catalog team does not deal with digital. It may be a number of issues I couldn't really explain.
  21. Hey Peter...nice to see you here! Jarre is awesome, you are right...running a label is a lot of work and while I do admit liking Cinema Morricone a lot (Simone is a great pianist) it seems he has no interest in releasing anything else. But hey...he was prolific once upon a time.
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