Back in Los Angeles after my trip to Washington State. Had a wonderful time up there and am excited to return.
Met today with my music supervisor, Linda Cohen and we continued to talk about music we wanted to try to license for the Cobain film. This is a fun, but somewhat curious, part of the process when every piece of music, every artist is "possible" or "might be able to be cleared". Some seem more possible than others, some seem almost immediately out of our budget range, which is something that we're paying a lot of attention to. Because, as I noted in an interview with Warren Etheredge, getting clearances up front for all rights was one of the most important things I learned from my first film:
Get your music rights and clearances taken care of long before you edit. Never think that you`ll be able to figure all that stuff out later. And get all rights taken care of—home video, television, everything. Some people make the mistake of just getting clearances for festivals, thinking that any potential distributor will pick up the other costs, but that`s exactly the thing that can scare someone away. It was the smartest thing we did in making this film—working on the rights from the very beginning, because you have no idea how long that shit takes. And again, if not for (producer) Shirley (Moyers), and our great music supervisor, Linda Cohen, we would have been in a terrible position.