Hey Bret…I’m curious. It seems as if a doc on Horace is such a righteous project that the label, and particularly Don Was, would want to license the music to you for a reasonable sum. We know that the publishers don’t care. They just want their pound of flesh. But there are so many reasons for the label to want to support you. What sort of push back did you get on music rights? And how about the Silver estate. So unfortunate that you had to abandon this project. I’m reminded of Eliane Henri’s doc about Roy Hargrove where any use of Roy’s music was blocked by his manager and Roy’s survivors. The film got distribution ultimately through PBS but the lack of Roy’s own tunes really hurts.
That great artists like Coppola and Welles continued to create despite huge setbacks is a reminder to all of us that we serve the art, not the other way around.
A terrific treatise on Coppola, you as a filmmaker, and film-making in general.
Hey Bret…I’m curious. It seems as if a doc on Horace is such a righteous project that the label, and particularly Don Was, would want to license the music to you for a reasonable sum. We know that the publishers don’t care. They just want their pound of flesh. But there are so many reasons for the label to want to support you. What sort of push back did you get on music rights? And how about the Silver estate. So unfortunate that you had to abandon this project. I’m reminded of Eliane Henri’s doc about Roy Hargrove where any use of Roy’s music was blocked by his manager and Roy’s survivors. The film got distribution ultimately through PBS but the lack of Roy’s own tunes really hurts.
That great artists like Coppola and Welles continued to create despite huge setbacks is a reminder to all of us that we serve the art, not the other way around.
Well said!