Music is an important tool to breathe life into any piece of content or production. It has the power to transform the ordinary into something emotionally resonant and engaging. 'In Tune' is our new blog series featuring advice from creators, filmmakers and podcasters, as they share how music shapes their creative process, storytelling and the overall tone of their content.

First up, hear from Samuel Fash, Film Director, discussing the impact music has on his content and how Universal Music for Creators has been a game-changer in simplifying his creative process, whilst also boosting audience engagement.

 

Samuel, could you tell us about yourself?

I'm a self-taught film director. As far back as I can remember, I've been in love with cinema. I fell in love with film when I was 8, picked up a camera, and have been telling stories ever since.

Filmmaking for me is a gift from God, as it allows me to express my emotions and ideas. Naturally, being an introvert, I find it easier to communicate through film.

My goal isn't just to create cinema, but to build a film studio that gives me autonomy as a filmmaker - to tell my own stories, and help others do the same.

 

What type of content do you make?

I create films as a form of expression, confronting ideas and emotions I face. My films are usually thought-provoking and display the classic visual language of cinema.

Outside of my films, I direct adverts and shows, and have worked with over 150 clients. My passion lies in using film to express ideas - capturing emotion, telling stories, and creating visual masterpieces.


How important is music in shaping the energy and tone of your content?

I believe music and film go hand in hand. Music shapes the feeling and creates the mood for scenes in my films. It sets the pace of how a scene will be cut and adds to the storytelling. Combining both music and visuals creates a completely immersive experience.

Most of the time, while writing a film, I already know the type of music I have in mind. Some of my favourite filmmakers do the same - for example, Martin Scorsese wrote the song 'Cream' into the script of Goodfellas.

Many times, hearing music can inspire the concepts for my films, as I tend to see visuals in my mind while listening. This allows the film to be written to the music. This was my approach with my film 'Scenes from a Relationship'. The film's score uses 'Agape' by Nicholas Britell. I heard the score while on a flight and instantly saw the scenes playing out. By the end of the flight, I had written the script. The peaks, troughs, and progression of the score helped me create a feeling and drive the story.


How do you decide on the best track or genre to use for a piece of content?

My approach to picking the best track is to focus on the feeling. How does the track make you feel? How does it progress over time? How does it drive the scene?

When the music doesn't fit, you can feel it - it usually leaves the audience disconnected. My taste when selecting the best track and genre is also influenced by my favourite films that have created a feeling through music. To name a few: The Godfather (1972), Taxi Driver (1976), Goodfellas (1990), Chungking Express (1994), In the Mood for Love (2000), Paid in Full (2002), Inception (2010), The Social Network (2010), Interstellar (2014), Drive (2014).

 

Are there any challenges or issues you face regarding music licensing?

The main issue I've faced in the past with licensing has been the limited catalogues available. I've often had to search through multiple libraries to find the right track.

 

What advice would you give to other individuals beginning their journey as content creators?

To aspiring filmmakers and storytellers, I would advise you to immerse yourself in the art form you want to create, and start creating. The best way to learn is through experimenting, failing, and learning from those failures. The faster you fail, the faster you learn.

  

Samuel's Top 10 UMC Catalogue Picks

Title Stems Length

                  I Ain't Letting Go

I Ain't Letting Go

Symphonic Soul
Waveform of I Ain't Letting Go
03:20
77 BPM

Composer

  • Andrew Peter Kingslow
  • Trina Smith

Publishers

  • Atmosphere Music Ltd. [PRS]

Labels

  • Atmosphere


                  You'll Be In My Heart

You'll Be In My Heart

A Sentimental Journey
Waveform of You'll Be In My Heart
04:18
67 BPM

Composer

  • Marti Amado
  • Chris Fulford Brown

Publishers

  • First Digital Music [BMI]
  • FCZ Music [SESAC]

Labels

  • Capitol Studio Masters

Waveform of Summer Days
03:09
88 BPM

Composer

  • John Rekevics

Publishers

  • First Digital Music [BMI]

Labels

  • Capitol Studio Masters

Waveform of Nightbird
03:50

Composer

  • Marti Amado

Publishers

  • First Digital Music [BMI]

Labels

  • Capitol Studio Masters


                  Don't Tell Me

Don't Tell Me

A Sentimental Journey
Waveform of Don't Tell Me
03:11
81 BPM

Composer

  • Marti Amado
  • Chris Fulford Brown

Publishers

  • First Digital Music [BMI]
  • FCZ Music [SESAC]

Labels

  • Capitol Studio Masters

Waveform of Sage
02:19
140 BPM

Composer

  • Ben Foden

Publishers

  • Atmosphere Music Ltd. [PRS]

Labels

  • Atmosphere

Waveform of Talm Bout
02:19
98 BPM

Composer

  • Nathan Bodiker
  • Nicholas D'Anthony Crawford

Publishers

  • First Digital Music [BMI]

Labels

  • Front Runners


                  How Much

How Much

Classic Soul
Waveform of How Much
02:34
105 BPM

Composer

  • Kenneth Brian Lewis
  • Scott Dente
  • David Luther Cleveland
  • Matthew Guy Pierson
  • Blair Masters

Publishers

  • Elias Plays Publishing [BMI]
  • HEAR Music [SESAC]

Labels

  • ELIAS Music


                  Girl Quit Running Away

Girl Quit Running Away

Detroit Soul
Waveform of Girl Quit Running Away
02:10
130 BPM

Composer

  • Steve Sechi

Publishers

  • Soundcast Music [SESAC]

Labels

  • Network Music

Composer

  • Jonathan Elias
  • David Ashok Ramani

Publishers

  • ZFC Music [SESAC]

Labels

  • Capitol Studio Masters

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