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I agree wholeheartedly.
A personal anecdote: I do remember "You'll Be In My Heart," but not because of its use in Tarzan. I remember it, because I had to hear it approximately 30 times a day during the summer of 1999, due to the fact that it was a song on the "Movietunes" CD that played in the lobby of the multiplex I worked at at that time.
In spite of that, all I remember of it is Collins singing the title phrase.


Great post! Sometimes when I listen to my favorite songs, I imagine scenes they would work well in. Example: I've always thought the closing minute of Journey's "Stone In Love" is screaming to be used in some cocaine-fueled 1980s-era scene.


Well one reason this doesn't exist is because you can't really attribute the accomplishment to a job category. Music Supervisors are often flacks selling the tunes ( or bands) in their briefcase, as opposed to finding the right song for a moment in the film. Plus there are lots of people who bring these ideas to the show. Certain directors come to preproduction meetings with their soundtracks playing in the room. Others come out of the assistant editor's personal music libraries. And the credit for making these songs fit so well would also have to be shared among the editor, the music editor, and even the composer who often has the ever so difficult task of scoring around them. What makes a soundtrack work is no clear set of rules or processes, but is one of the many collaborative magics of movies. Great column and definitely an area that is overlooked. Just not sure how you could resolve the fight over who gets on stage to accept it.

Kim Morgan

I agree. Writing this made me think of the editor, director and music supervisor and who would pick up the award. Some of them ARE quite hands-on, but so are many directors and screenwriters, who think about the music, often when they're writing the scenes. Whoever the director (and I hope the director) gives the pass to FOR the music, however, seems like the seal of approval so... give it to the music supervisor.


David O. Russell's use of Led Zeppelin's "What Is and What Should Never Be" in Silver Linings Playbook is the most recent example I can think of where the soundtrack added an order of magnitude more emotional impact.

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