BLOG

Meet the Supes: Q&A with Delphine Measroch

Q. How did you first get into the music industry?

A. After doing a Master’s Degree in Composition I started out as an assistant to various prolific film composers. I did a lot of music editing, temp scoring, arrangements, and really enjoyed choosing and trying all sorts of different tracks to picture. Often, the scenes that couldn’t be scored by the composer or needed a song, I would end up proposing different sources and bands to directors and eventually started doing more and more music supervising.

 

Q. Can you tell us about some of your upcoming projects?

A. ‘I’m working on a French TV series called Philharmonia, a sort of thriller set around the life of an orchestra, Les Honorables another TV series just starting up, and I’m always on the team of the Circonflex Music Agency in Montreal for the supervision and synchronisation of songs for commercials.

 

Q. What do you think of the Canadian Music scene?

A. It’s so diverse it’s hard to qualify as a whole, there are a lot of great bands in all styles—folk, hip-hop, electronic or jazz, some are really commercial and others are very experimental—I tend to be more attracted by the ‘curious’ ones… I guess I’d say it’s extremely wide and really has something for every ear…

 

Q. Aside from value and/or ‘buzz’ factor, what are some of the benefits of placing music by an unsigned or independent artist?

A. I do like the direct contact with an artist who’s unsigned, they are often more interested on how the music and lyrics affect the scene and story, how the piece is used and I find the contact is often a bit more “creative”…

 

Q. What’s the #1 song you’re dying to sync in a piece of media (a film, TV show, video game or ad/trailer), and where would you like to use it?

A. I would love to sync pieces by Thus Owls, “White Night” or “Farmers in Japan”, beautiful songs by great Montreal artists.

Otherwise, I think the song “This is my Hand” by My Brightest Diamond would be great to serve a very strong or rebellious feminine character. The song speaks about self-acceptance and the experience of being a woman in a very self-empowering way.

 

Q. What’s your favourite sync moment of all time (in any piece of media)?

A. Sufjan Stevens “Death With Dignity” in one long ending scene of This is Us.

I also love a lot of the music syncs in Big Little Lies, with Leon Bridges and Agnes Obel.

 

Q. What are some of the most common mistakes you see independent artists make when they want to approach or pitch music to you?

A. I’m not sure about common mistakes but when I receive a specific playlist for a particular project for which the artist feels the songs could fit, lyrics and style wise, I think that’s a great way to catch attention, more than long lists of tracks out of context.

 

Q. What’s the most unusual way a piece of music that you’ve used has come into your hands?

A. Most of my friends are musicians, so I hear a lot about music or new bands coming up, sometimes I get to hear some unreleased tracks… On one occasion I synched a piece by the band Groenland for a Bell Canada campaign, from an album produced by my brother-in-law. The album has sold more than 30 000 copies since then.

 

Q. What’s the biggest challenge you’ve ever faced as a supervisor?

A. A very short budget.

 

Q. If you had to describe your personality in one song title. What title would it be and why?

A. “Comfortable With The Silence” by Andy Shauf. I can enjoy very quiet music, and I also appreciate silences and space within music.

 

Q. What are some artists or songs that you’re really excited about right now?

A. Colin Stetson, Matthew Holubowski, JM Blais, Born Ruffians, Timber Timbre, Andy Shauf, Peter Henry Philips, Milk Carton Kids, Nico Mulhy, Paper Beat Scissors, Dear Criminals, Franklin Electric, Julia Kent, The Luyas, Thus Owls, My Brightest Diamond, Son Lux, Kroy, Foxtrott, Olafur Arnalds, Nils Frahm, Marika Hackman, Rhiannon Giddens, Rachel Grimes, Great Aunt Ida, Anne Müller, Hildur Gudnadottir… And so on and so on…