Once again the CLIO Key Art Awards are back and The Hit House is honored to have contributed our music composing, arranging, and producing skills for Finalists, ranging from theatrical trailers to commercial and video game spots. The CLIO Key Art Awards are given yearly for outstanding achievement in artwork and promotional materials across movies, TV, and gaming.
This year our composers Scott Miller, William Hunt, and Dan Diaz were lucky enough to work on Finalist projects including: Suicide Squad, Uncharted 4: A Thief’s End, Game of Thrones, Beauty and The Beast, Pete’s Dragon, Creed, and Angry Birds. Our clients included Buddha Jones, Aspect, Sony Playstation, HBO, TRANSIT, and The Refinery AV who created work for Warner Bros., Sony Interactive Entertainment, HBO, Walt Disney Pictures, and Sony Pictures Entertainment.
Congratulations to all the nominees, our fellow composers, and music supervisors, on an excellent year of work. Honored to be among them. We are so grateful for the privilege of having worked on the following campaigns that have been judged worthy of being Finalists. See you at the 2016 CLIO Key Arts Award show on October 20, 2016 at the Dolby Theatre in Hollywood. Best of luck to all the talented Finalists.
Pete’s Dragon – “North 60”
Composers Scott Miller and William Hunt’s original music to fit the “Go North” vocals in this trailer.
Uncharted 4: A Thief’s End
Produced and arranged by Scott Miller, with strings by William Hunt and vocals by Ruby Friedman, our cover of The Pixies’ Where Is My Mind.
Game of Thrones – “Series Spot”
Composer Scott Miller’s “Arty Choke” from The Hit House’s comedic Album “Funny Bone Ate.”
Beauty and The Beast – “Portrait”
Composer William Hunt’s reimagined trailer music.
Creed – “Go For It”
Composer Dan Diaz’s cue “The Left Hook” for this Creed spot.
The Angry Birds Movie – Trailer
Composer William Hunt’s “Plumed Pharaoh” (2:00-2:09), for Mighty Eagle’s entrance.
Suicide Squad – “Rhapsody”
Composer Scott Miller’s enhancements to Queen’s Bohemian Rhapsody.
Finalist – Buddha Jones for Warner Bros. in Theatrical: Audio/Visual Technique
Finalist – Aspect for Warner Bros. in Theatrical: Audio/Visual Technique – Music
Finalist – Aspect for Warner Bros. in Theatrical: Audio/Visual Technique – Editing
Because dead men tell no tales…
Disney needed a fitting teaser to release their official trailer, so who better to create the looming hype than The Hit House? Composer and whistler-in-chief Scott Miller created a ominous, foreboding, yet tantalizing tune accompanied by a whistle that hinted at adventures to come.
Debuting with Fear The Walking Dead on AMC, the Official Trailer for Pirates of the Caribbean: Dead Men Tell No Tales, premiered on October 2. This sequel tells a tale of Johnny Depp returning to the Pirates franchise as the iconic, swashbuckling anti-hero Jack Sparrow. Led by the death incarnate Captain Salazar (Javier Bardem), a legion of undead ghost sailors escape from the Devil’s Triangle intent on killing every pirate at sea, especially the down-on-his-luck Jack Sparrow. The only hope of survival is with the legendary Trident of Poseidon, which he must find by forging a tenuous alliance with the brilliant and beautiful astronomer Carina Smyth (Kaya Scodelario), as well as a headstrong young Royal Navy sailor Henry (Brenton Thwaites). As the captain of the decrepit and tiny ship the “Dying Gull,” Captain Jack must outwit and ultimately defeat his most deadly and formidable enemy yet.
Pirates of the Caribbean: Dead Men Tell No Tales drops anchor in the U.S. on May 26, 2017, but before then, let The Hit House tell your vibrant tales as we know best, with music.
DreamWorks Animation’s Trolls uses The Hit House’s enhancements to “True Colors” in the new Anna Kendrick & Justin Timberlake trailer.
In a movie about about trolls & happiness, no song fits better than Cyndi Lauper’s “True Colors.” To make the song work for DreamWorks Animation’s newest Trolls trailer, The Hit House’s Scott Miller made enhancements from 1:56-2:11.
The creators of Shrek, created a smart, funny, & irreverent comedy about the universal search for happiness & the lengths the trolls will go to find it. Poppy, the perpetually optimistic troll, voiced by Anna Kendrick & Branch, the perpetually pessimistic troll, voiced by Justin Timberlake, set off on a rollicking adventure of incredible color to save their friends who have been taken by the evil Bergens. Throughout the movie music becomes the key to their survival as the soundtrack, produced by Timberlake, features five original songs by Timberlake, Ariana Grande, Anna Kendrick & Gwen Stefani, as well as classic hits from the 1960s through the 1980s.
“I feel music adds so much to animation, it just feels like they belong together,” said Anna Kendrick, as Timberlake enforced its centrality, “It’s the music that rescues them.” The trolls themselves said, “Happiness is inside of all of us, sometimes you just need someone to help you find it.” Next time you need the happy, let The Hit House help you find it.
Let Dreamwork Animation’s Trolls bring you laughter, tears, & music in theaters on November 4
For “Summoners War” relaunch Petrol advertising summoned The Hit House.
When it was time for a massive relaunch of mobile gaming’s biggest name, Petrol advertising couldn’t settle for just any ordinary composer warrior. They needed the mightiest sonic beasts in the game!
The Hit House’s resident conjurers summoned up a mighty front-to-back score for the new Summoner’s War trailer. Scott Miller and William Hunt carefully crafted the arcane notes made new and the sound design was magically honed by Chad Hughes.
The Hit House is always ready to go battle when you beckon (just make sure the mini-bar is fully stocked).
First, for your war your way, you must decide: “Summoners! Who are you with? Team Franco or Team Brie?” Now Download the game free on your phone or tablet here: Summoners War App Download.
Nobody does Brain Dead quite like The Hit House!
On a list of The Hit House’s
favorite things the top of it would definitely include bad ass classic rock & wandering around half conscious looking for food! So when The Refinery Creative came to us asking for a little help with the trailer for Sony Pictures Screen Gem’s final installment of the Resident Evil Movie franchise, we finished our last bite of brain pizza & grunted “hell yes.”
Check out Dan Diaz’s bitching percussion accents to Gun N’ Roses’ “Paradise City” & let The Hit House take you home where the guts are red & the girls are busting all kinds of heads.
Resident Evil: The Final Chapter invades theaters on January 27, 2017.
The Hit House’s music for Target’s giving.
Target gives more than $4 million to communities every week and now people will know. In an effort to reinvigorate schools that have financial issues, Target gifted this elementary school the money to replace its decrepit P.E. equipment. The first-year basketball coach and P.E. teacher explains that P.E. helps children gain confidence to be healthy and stay fit.
Our Creative Director, Scott Miller composed “Basketballs” as a light uplifting lilt helping to underscore the empowering nature of supporting education in a multitude of different ways.
We are so happy to have worked on this spot for Target as we all at The Hit House also contribute our time through “Hands on Art,” to bring visual arts to schools in areas that do not have funding for arts.
Nothing breeds hope like knowing people care and are willing to help.
VP of Music Supervision & Recovering Punk Rocker
Jesse Goodwin has been a fixture of Trailer Music Supervision in Hollywood since 2003 and most recently joined The Hit House as our first VP of Music Supervision.
Prior to joining The Hit House, Jesse was a Music Supervisor since 2011 with Seismic Productions and had won two Golden Trailer Awards, but we wanted to know the other unedited side of Jesse. So we hit him with some queries which he kindly answered for us in between music search party sessions, walking the dog, and yelling at the composers to “Work HARDER… and FASTER… and BETTER!” Below, the reveal.
What is “music supervision?”
In its simplest terms it’s putting music to picture. In more complex terms, it’s finding, or producing the perfect piece of music within a limited budget to play against a wide variety of mediums like films, commercials, video games, TV shows, etc. In realistic terms it’s some authority figure telling you what his daughter is into, that they only have 30 bucks to clear it and to get them something like it in 2 hours.
How did you get into music supervision, what was your path?
I spent four years at what some would consider a very prestigious film program. After emptying out my savings (and begging my parents for the rest) for my Senior film I realized the only thing I enjoyed about it was finding and composing the songs. So I got a job in TV post production right out of college trying to work my way up into the music department while spending most of my time stoned in a Subaru getting coffee. Every time I got a step up, the show would be canceled. A friend from college called me and said she was working at a start up trailer house called Big Picture. She basically said they needed someone with my skills of operating a motor vehicle while really high and dropping off things to important people. But since they were so small I could also, “Run the music department.” After about 18 months we went from 6 employees to over 20, and I was a legit music supervisor.
Do you play any instruments or pursue any artistic expression yourself?
I was in punk bands from about the age of 15 onward. I mostly sang, but I also played guitar in a couple. Also, I play drums and a little piano. Pretty much as soon as I graduated college, I was out on the road touring with every weekend, hiatus, vacation day I had. My most successful band was called “Majority Lost.” We got to tour with some of my idols, release a few records with small labels and got to play all over the US and Europe. But it became very clear a few years ago that being a punk rocker was a hard life. I was tired of motels, the hangovers, the inertia of being in a band and the fact that no matter how popular we got there was never gonna be enough dough to pay my mortgage. I took a step back and realized that some where along the way I had become a pretty successful music supervisor, thought to myself “Well its not ‘Punk God’ but still a pretty cool title,” and thus I moved on from the van life.
What was your earliest memory of music and the first song you fell in love with?
Okay, this is going to be the least cool answer. But my most vivid memory as a kid was road trips with my family. My dad went through this phase where he just fucking loved The Eagles. I remember getting into fights with my brother over who got to sing along to the next track on “Hotel California.” I think it is where both of us learned to sing harmonies. Jump to a few years later and I was an 11 year old in the “pit” (if Eagles have moshpits) of the “Hell Freezes Over” tour with my pops. Side note: first time I ever saw him smoke weed too.
What is your favorite genre of music in which to work?
Ha. Well I love punk of all time periods, but I very rarely get to sync it. So I guess the most honest answer is I like any piece of music that works. Cause it makes my client happy. And a happy client is a less stressful existence.
What is your process for finding the perfect music?
I’ve always said Music Supervision is “Creativity With a Right and Wrong Answer.” There are so many people you have to please before your work sees the light of day. I’d say my process starts with what I think is best for the project. Basically what I think is the coolest piece of music for that certain trailer or scene. Then you sort of whittle it down as you get into budget and what your producer, director or client are looking for. Somewhere (way) down the line you always find common ground.
Are there any skill sets that you’ve developed as a music supervisor that aren’t specifically related to music?
Well, I’m married and I have a toddler. So I guess patience?
What hobbies or other interests outside of music inform your work?
After I quit touring I put myself through culinary school on nights and weekends. So I’m super into cooking and try to keep learning and progressing. It’s a great outlet for creativity. Maybe one day we’ll have “The Hit House Burger Emporiums.”
What is your greatest strength as a music supervisor?
I think I care less about being a “tastemaker” and more about what works. Breaking the coolest, unknown bands is great but that’s not really what we do. Especially in advertising. We are finding the best possible piece of music to sell the product. It’s totally awesome if you get to break a band that way, but it’s not what I’m setting out to do. I’ve also developed a very sophisticated Client-To-Artist dictionary that is able to interpret client-speak into musician-speak.
How do you work within the construct of The Hit House?
I mainly try to make Sally not mad at me. Which requires I wear a lot of hats. My first goal was to make The Hit House full service and be able to offer all of our clients top level music supervision. The Hit House is top of their game in catalog and custom scoring, but until now they couldn’t offer the other side of the music game. I also try to shape our upcoming releases and staying on top of where the industry is headed so we can stay ahead of trends. Lastly, I’m another ear as we are writing custom scores. Or as the composers here would call “Just one more jackass giving us notes.”
How did you and The Hit House first begin working together?
When The Hit House started their catalog it was almost exclusively comedy. I was working at a trailer house that primarily did big comedy trailers. So it was a love at first sight scenario. They are so much fun to work with that it just sort of continued as a symbiotic thing as Scott and the team got better and better at different genres and I could use them for everything.
What’s your favorite piece of music by The Hit House in an Album?
Well I can tell you the track that I think hasn’t gotten its huge back end yet. “Radium” off of the “Chemical Re:Action” album. Goddamn I love that track. I used to pitch it all the time before I worked here. I just think it’s gorgeous. Cut up against almost any drama or action or sci-fi. It just gives me chills.
How do you see The Hit House fitting into the greater framework of the Music Industry?
Right now, we are still the little guys. People know us and love us because we are super selective as to what we release. You never have to wade through the shit to find the diamond, cause if it sucks we don’t release it. The quality control here is annoyingly strict. The same goes for our custom work. Scott and Sally are never letting anything out the door that doesn’t sound great. So I guess to answer your question, we are sort of like the Hitmen? No pun intended. Not many people know we exist, but we solve all problems quickly and quietly.
What is a common layperson’s misconception about music supervision?
No, I do not just get to sit around and listen to music I like all day.
What advice to you have for those interested in the music supervision industry?
Just to have a broad knowledge of all genres. You very rarely get to just work with your favorite types of music. You will have to spend an entire day listening to Radio Disney or flamenco or covers of “Walking On Sunshine.”
If you could put anything onto a billboard anywhere, what would it be & what would it say?
It would be every ten miles on the freeway “Hey Jackass, if you aren’t passing stay right!”
What are the top 3 performers you’ve seen in concert?
That’s a tough one. Probably Ray Charles, Guns and Roses and A Wilhelm Scream (this super technical metal/punk band from the East coast).
What are your top 3 music albums?
Thrice – “The Alchemy Index”
NOFX – “The Decline”
Stevie Wonder – “Songs in the Key of Life”
What album would you give as a gift?
An iTunes gift card.
What was the song of your first dance at your wedding?
Otis Redding “These Arms of Mine.” My wife is a HUGE Otis fan, so not like I was really given a choice.
What song/music makes you cry (if any)?
I am no joke close to tears any time I hear any version of “Landslide.” That’s all I can say about that without tearing up.
What song/music do you listen to while driving?
I mostly listen to 90’s punk if I’m driving or in the gym. Bad Religion, NOFX, The Vandals, Descendants. Its just the one type of music I haven’t gotten sick of listening to for work purposes.
Is there any music you do not enjoy?
I don’t think I’ll ever understand Country Rap. Like, if you like rap and country why aren’t you listening to good rap and good country? I like Philly cheesesteaks, and I like frozen yogurt, I don’t want to eat a horrible combination of them.
The Hit House’s “Celestite” featured in Disney’s The BFG spot.
This spot by The Hit House for Disney highlights the “astonishing,” “wondrous,” and “pure movie magic,” the critics have determined The BFG delivers.
Composer Dan Diaz created “Celestite” for the “SPHERES:VERGE” album. Disney chose Dan’s music for this The BFG spot. Hear the full version of “Celestite” on SoundCloud here:
Director Steven Spielberg takes us on a journey unlike any the world has ever known, based upon the children’s book written by Roald Dahl. 10 year old Sophie has the adventure of a lifetime when she encounters The Big Friendly Giant. Even though she’s afraid at first, she quickly finds the giant to be both charming and gentle in character. The plot twists as evil giants find out about their friendship and thus Sophie and The BFG must join forces with Queen Victoria to save themselves and the world from the bad giants.
Watch the this spot, then go see the astonishing friendship of The BFG in theaters now.
The Hit House created original music to fit “Go North” vocals from Pete’s Dragon.
Walt Disney Pictures remade Pete’s Dragon based on the original live-action/animated musical 1977 version. Ad agency TRANSIT got the vocals from the song “Go North” from the movie and gave them to The Hit House to work our magic. Composers Scott Miller and William Hunt delivered a musical labor of love. Their original music provides a seamless instrumental synching to the loving yet wistful melody of Pete singing a tune of friendship to his companion Elliot.
Directed by Davide Lowery, Pete’s Dragon centers on the adventures of Pete (Oakes Fegley), a 10-year-old orphan who lives in the woods with his best friend Elliot, who happens to be a dragon. The tale begins when Mr. Meacham (Robert Redford), a woodcarver, tells stories of a mysterious dragon that lives deep in the woods of the Pacific Northwest. His daughter Grace (Bryce Dallas Howard) believes these are just fiction, until she actually meets Pete. With the help of her friend Natalie (Oona Laurence), Grace sets out to investigate if this fable is actually true.
Happily, in creating the music for Pete’s Dragon, we answered the timeless riddle, “If a dragon is in the forest, does it make a sound?” Turns out, some quite beautiful ones. Luckily we got to add the accompanying trailer music.
“Go North” with Pete and his dragon on August 12.
The Hit House’s “Niner” featured in Disney’s “The BFG” Trailer.
Movies about behemoths need big music that moves, so The Hit House served up a large piece fit for dining with giants.
Composer William Hunt created “Niner” from the “EPIC FUNNY BONE The Third: Orchestral Escapades” which Disney chose to open this The BFG trailer. Hear the full version of “Niner” on SoundCloud here: “Niner” on SoundCloud
Based upon the children’s book written by Roald Dahl, Director Steven Spielberg takes us on a journey unlike any the world has ever known. Sophie, a 10 year old girl, embarks upon the adventure of a lifetime when she encounters The Big Friendly Giant. Although initially afraid, she quickly finds the giant to be have a soul and character that is as charming as it is gentle. However, evil giants find out about their friendship and soon Sophie and The BFG must join forces with Queen Victoria to save themselves and the world from the bad giants.
Watch the trailer, then see this epic friendship of The BFG open in theaters nationwide on July 1.