Hi! My name is Rob Lowry and I am a music supervisor for film and television. Recent projects include Companion (New Line), Heart Eyes (Sony), and Novocaine (Paramount). Upcoming Projects include Drop (Blumhouse) and Friendship (a24). I've also worked on past projects such as Gossip Girl (HBO Max), Ramy (Hulu), The Lost City (Paramount), Do Revenge (Netflix), and Cha Cha Real Smooth (Apple).
I'll be answering your questions all day Wednesday through Thursday morning! Feel free to ask any questions about music in film & tv. Some samples that may be useful:
- What’s the best way that a writer can communicate a musical vision in a screenplay or pitch, to help the music supervisor?
- How do you decide when to use score vs. licensed music in a scene?
- What’s the biggest mistake filmmakers make when planning their music budget?
- What makes a film or series stand out to a music supervisor?
- How can emerging directors or composers get on a music supervisor’s radar?
Excited to hear your questions and start a fun dialogue about the power of music in film & tv. Chat soon!
3 people like this
Hello Rob Lowry thank you for being in the AMA and hello from Trinidad and Tobago (in the Caribbean). My questions are:
1. How can Caribbean-based Composers gain access to having their music placed in...
Expand commentHello Rob Lowry thank you for being in the AMA and hello from Trinidad and Tobago (in the Caribbean). My questions are:
1. How can Caribbean-based Composers gain access to having their music placed in US based films? The music doesn't necessary have to contain a Steelpan or Caribbean rhythms by the way.
2. Do we have to be signed to a Label or Agent?
3. How large does the Composer's catalogue have to be to get the attention of a Music Supervisor?
4 people like this
Hey Navid Lancaster ! Thanks for the question. We tend to work with music and artists from all over the world. I had answered this in a previous question, but finding a US based synch licensing compan...
Expand commentHey Navid Lancaster ! Thanks for the question. We tend to work with music and artists from all over the world. I had answered this in a previous question, but finding a US based synch licensing company is probably the best way to get your music in front of US based music supervisors. An artists' catalogue is pretty irrelevant at least from my point of view; we've licensed artists who have one song released, as well as artists who have 100's or 1000's... it's all just about the music!
3 people like this
Rob Lowry You've gone above and beyond the call, my friend. Thanks so much for sharing with us here. I'm gonna grab a cup and read through all this valuable info you've dropped....
Expand commentRob Lowry You've gone above and beyond the call, my friend. Thanks so much for sharing with us here. I'm gonna grab a cup and read through all this valuable info you've dropped.
2 people like this
Thanks again for having this AMA, Rob Lowry! Looking forward to watching Companion this weekend!
3 people like this
Rob Lowry hey there, Rob. Thanks for this AMA.
My current film in development, is set in the city of Bristol (UK) and to enhance the atmosphere we are going to use what is known as ‘Bristol Sound’. Ba...
Expand commentRob Lowry hey there, Rob. Thanks for this AMA.
My current film in development, is set in the city of Bristol (UK) and to enhance the atmosphere we are going to use what is known as ‘Bristol Sound’. Bands that are from this area, to enhance the power of place in the film.