Here is a pull from the piece:
R&G: Where do you see the music supervision business going in the next five to ten years?
TG: There are a few trends going on. Some are very positive. Some, I think, are a bit negative. Desperate financial circumstances for most music supervisors have been exacerbated by how the studios are treating supervisors in shrinking the budgets to the point of being negligible. A lot of supervisors are beginning to represent catalogs themselves and create their own licensing entities, which I personally think is a conflict of interest and is a really unfortunate development. It means that you can’t really trust that your supervisor is delivering you music that’s really great. It’s delivering music that they could potentially make some money from. I think that’s an unfortunate trend that’s happening and I hope that it comes to an end, but the studios have exacerbated that themselves: They are now purchasing entire libraries and very much putting pressure on supervisors to license from those libraries. There’s really a conflict of interest problem in the entire industry, and the studios are really the ones who I think have in many ways pushed that and created a circumstance where I think the ethical values of the job have been really compromised. I think supervisors are trying their best to survive, so I don’t really blame people for doing it, but I do think that you can’t be a virgin twice. On a more positive side, I think that supervisors are less and less the shills, as it were, of record labels, trying to push products out at people. About ten years ago, if a record label were on board to put a soundtrack out, they would really be putting a lot of pressure on the supervisor to use music from that label, and the supervisor would then put the pressure on the directors to greenlight those songs. I think that’s happening less and less and I think that people are getting more innovative with music. I personally feel like my projects are creatively loose and I have a blessed amount of authority in being able to throw weird ideas out and see how they get saluted. I think that’s happening more and more. There’s definitely a more brave creative energy happening in supervision right now. A lot of that is because I think directors are getting more brave and studios are getting more brave. At the same time, the budgets are getting smaller; in a way sometimes having a lower budget can give you interesting creative avenues, because you can’t afford that Bob Dylan song. Having less money to work with is a great difficulty and a great strain on one level, and on another level it forces people to be a little bit more creative, so it has positive and negative repercussions.