Movies without music? Boring! But how does music get into movies actually? Who makes the decision whether already existing tracks or original composed music is used? How is it licensed? Who is handling the budgets? What strategies are available for dealing with music, and how much importance has music at all? And what about the relationship between creativity vs. marketing-necessity?

Movies needs music; and also the placement of music in movies is very attractive to many music producers and artists because on one hand it brings direct income and on the other hand it opens up new target groups.

In this panel, co-hosted with the c/o pop Convention, Music Supervisors and filmmakers reveal how they come together. In a “Morning Fireside Chat,“ director and screenwriter Christian Alvart ( "Case 39", "Pandorum", various “Tatort“) talks to music supervisor Pia Hoffmann; Host: André Feldhaus, composer of more than 90 TV and cinema productions, including "Schnappschuss mit Che" and "Nordstrand". Additionally there are two workshop discussions: the first one with Thomas Golubić, whose company SuperMusicVision curated the music for e.g. "Breaking Bad", "Better Call Saul", "The Walking Dead" and "Six Feet Under"; the second introduces Lynn Fainchtein, who is responsible for the music in "Birdman", "The Revenant" and "Babel". The workshop discussions are hosted by Milena Fessmann, who herself is a radio DJ and Music Supervisor at CINESONG ("Tschick", "Macho Man" , "Everything will be fine").