From the Department of Recorded Sound

Posted March 1, 2012

Panel #43
Friday, March 2, 2:30pm
Columbia Art League, 207 S. Ninth St.

Film music drives audience emotions, and individual scenes can be defined by a particular song or music cue. Essential as it is, film music is often under budgeted and misunderstood. This conversation with Music Supervisors Joe Rudge and Kate Urcioli will explore effective tactics for finding a film’s sound as well as the practical realities for licensing source material.

Joe Rudge

Joe Rudge is a New York City-based music supervisor. After beginning his career as a film director and documentarian, Rudge became fascinated by the role of the soundtrack in enhancing a film project, and moved into music supervision. He eschews taking a cookie cutter approach to his work, preferring instead to tap into the distinct personality of a film that is driven by its inspiration, message, and the people who created it. Rudge has worked on dramatic feature films including Sundance hits Blue Valentine, Terri, Margin Call, Brick, and most recently, Grand Jury Prize winner Beasts of the Southern Wild, which will be distributed by Fox Searchlight this summer. And his documentary credits include Martin Scorsese’s Public Speaking and George Harrison: Living In the Material World. When he’s not listening to music, Joe enjoys reading and long walks.

Kate Urcioli

With over 10 years of experience working in the music industry, Kate has worked in almost every field, including tour and artist management, talent buying, and publicity. She has since landed in music supervision, where she’s been active for the last seven years. With experience at the Chop Shop (Music Supervision for Film/TV), Nettwerk and WMG (Representing their Artists for Licensing Opportunities), and McGarryBowen as a music producer (music supervision for advertisements), Kate has had the unique opportunity to participate in the music supervision and licensing process from all angles.