Getting your music placed in a film or TV show is one of the most rewarding (and competitive) opportunities in the music industry. A single sync placement can boost your visibility, connect you with new fans, and provide a steady stream of income. But how do these placements actually happen? What are music supervisors really listening for? And what should composers and brands alike understand about how music shapes stories on screen?
To explore these questions, we sat down with two professionals working on opposite - but equally important - sides of the sync world: Jessica Dannheisser, one of our brilliant composers, and Jenn Egan, a seasoned music supervisor with a wealth of experience placing music in film and television. Together, they offer both the creative and industry perspective on what makes music work for screen - and how to get yours there.
Jessica Dannheisser on Scoring for Screen
When you're composing for TV and film, what helps you create music that really connects with the story?
My primary focus when composing to picture is to create music that perfectly supports the emotional integrity and narrative function of the scene, and so I like to gather as much information as possible before writing any music.This of course involves watching the film, but also talking in depth with the director, listening to/watching helpful references, reading around the story and generally immersing myself in the world of the film. After I do this, I mostly find that the writing process flows well, and often my first instincts stick the best.
What are the key lessons you've learned in the sync world over the years, and what advice would you impart on other composers who want to get their music placed in film and TV?
Keep doing good work that you believe in no matter the project, and try not to compromise on production quality; even if you can only record one instrument, write for that instrument.Reliability is also key, it’s no good writing great music if you can’t meet deadlines.
From your experience, what makes a great collaboration between a composer and a production team, and how does that relationship impact the final outcome?
I think the key aspect is that the production team has faith in the composer to begin with. Once that trust wains you’re on a rocky path. I focus on earning their trust and properly selling my ideas right at the start, I like to get them really excited about the music and confident that I’ve got this and it’s going to be great.My favourite collaborations are ones where I can really explore my creativity freely - of course there will be notes and I’ll happily make any necessary revisions, but it’s a two-way, respectful process; that’s when I do my best work.
Jenn Egan on What Music Supervisors Really Want
From a music supervisor’s perspective, what are you listening for when choosing music for TV or film - and what makes a track truly stand out in a sea of options?
Authenticity. You can tell almost instantly when a track has been created with sync in mind specifically; there’s such a difference between a song that is great for sync and a song made for sync.
What are some common mistakes businesses or brands make when selecting music, and how can they avoid them to ensure their project’s success?
Never allocating enough money in the budget for music – there is a gross misalignment with what music costs and what brands think music should cost.
My recommendation is to employ a music supervisor while in development to ensure your expectations can be managed.
For brands or businesses sourcing music, what factors should they consider to ensure that the music they select supports the story they're telling, and avoids the ‘stock’ feel?
Get in touch with representatives at production music libraries who know their catalogues like the back of their hand and ask them to suggest tracks with a reference song in mind.
In the world of sync, music is more than an afterthought - it’s a storytelling tool that can elevate a moment, evoke emotion, or define a brand. Whether you're a composer hoping to get placed or a business sourcing the right sound, the same principles apply: be authentic, plan early, and collaborate with experts who understand the power of music in motion.
At Audio Network, we’re proud to support both sides of the sync process - from world-class composers like Jessica Dannheisser to the music supervisors, filmmakers, and creatives who bring those compositions to life on screen. Because when music and picture truly align, the result is unforgettable.
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