I’ve already told you a bit about my preoccupation with the music for RIK. I had listened to a huge amount of music and had made some selections of pieces I’d like in the movie. And I wanted to write the lyrics for the theme song, for which I would need a composer.
In August, I emailed a few composers whose music I’d found on the Internet and liked, to ask what their prices would be to use their work. The composer I’d tentatively chosen as my favorite wanted $800 per minute of music, which was out the realm of my budget, so I began to look at less expensive licensed music. But I kept running into the problem of congruity. I didn’t want the music to be choppy; there needed to be a thread of similarity throughout, with dramatic differences restricted to source music—the music that would be coming from radios or over speakers in bars and restaurants. I decided to take a closer look at composers who’d sent in emails asking to do RIK’s score.
I focused on two composers whose music I liked and asked if they’d read the script and send me a sample of what they envisioned. Also, I asked a very talented musician friend of mine to help me evaluate the music they sent in. Even though either of them would have been acceptable, I was not truly happy and put off the decision repeatedly. Then a new option presented itself.
Zubi had a friend who is a composer in LA, Kays Al-Atrakchi. He sent me some samples that I liked. Unbeknownst to me, Zubi also shared them with Roger and Angel, who took the initiative to call Kays before I was ready for such a step. I called Zubi and told him that, as music supervisor, I was still in the process of evaluating Kays’ work and that no one else was to become engaged in the decision.
I then got a call from Angel, who was shocked that I had taken on the role of music supervisor. Admittedly, I’d never conveyed my intent to him. He and Zubi had apparently thought that they would select a composer, who would then be responsible for all music—composed as well as source. I told him two things: I alone would select the composer and I would select all source music. This was not only something I wanted to do, but also we couldn’t afford to pay someone else to find free source music, as it would be very time-consuming.
When I finally called Kays, I was delighted with his take on the script and his proposed direction for music. I liked his professionalism, his experience, and his attitude. Although his price was higher than I’d intended to spend—well above the other front-runner—I chose him. Never once was I sorry and repeatedly I was glad.