Face to Face with... Nick Payne & Dan Neale

Nick Payne (above left) of London music production company,The Works and Dan Neale (above right), head of music at RKCR/Y&R London, have combined forces to create a brand new award show that taps into an element of the industry that they believe is under-represented; music and sound design. The inaugral Music + Sound Awards will take place February 23 2012 at legendary London venue Koko, in Camden Town. With a selection of high profile judges - including Bil Bungay, Damon Collins and Imogen Heap - already onboard, a host in the shape of comedian Adam Buxton and a mantra of 'more rock 'n' roll than the Ritz', it could prove to both an insighful and unruly event. Here Payne and Neale talk us through the thinking behind the project.

Tell us a bit about the Music + Sound Awards and what people can expect from it.

NP: It's a celebration of music and sound and a meeting of the visual and music industries in one place to celebrate the great work that we do together. The Music + Sound Awards will be the first awards ceremony to throw the spotlight on the soundtracks that bring film, television, advertising and games to life.

It was conceived by you both, why did you think such an event was necessary?

DN:  There just wasn’t enough recognition for it in any of the festivals that exist currently. The idea behind the Music + Sound Awards is to celebrate the importance of music and sound design used in the visual media with all of the people that made the work. It’s a massive part of any production – try to imagine the famous Hamlet cigar commercials without Bach’s Air on a G String, British Airways ads without The Flower Duet, a film or TV programme without its score or a video game without sound effects. The music and sound design industry is thriving in all areas of the media, and creative excellence and the incredible talent that delivers it deserves celebration and recognition. 

You have a huge number of high profile judges involved; was it a hard sell to get them onboard?

NP: Not as hard as we thought it would be. We were delighted when everyone we approached realised that this event was necessary and would help throw the spotlight on our area of the industry. Having stand-out names from the advertising, film, television and music industries on the panel gives our event credibility and having the involvement of these professionals, many of whom are already involved with long established awards programmes and will have to take time out of their busy schedules to work with us, firmly strengthens our belief that this event is an important one and will go on to become something recognised throughout the creative industries in years to come.

Do you think that music and sound design is sometimes overlooked or sometimes a last-minute decision?

NP: To be blunt – yes, sometimes. The very nature of the production process means that music and sound design are added at the end of the process, as our job is to enhance the story, emotion and action of a film through it’s sound which can only really be done when it’s near completion. But thought should definitely be put into the sound at an earlier stage. If everyone is prepared and can be working within the same boundaries as opposed to the “lucky dip” approach and the last minute panic we often have to create or find an outstanding sound track, with very little time and under pressure, things would run far more smoothly and I believe all our work would be better for it.

The advertising industry could learn a lot from the film industry where directors spend an awful lot of time working on their soundtrack either with music supervisors or composers or both. For example Martin Scorsese, in an interview in 2007 in The Observer, said “it is not just the songs I use in the film. No, it's about the tone and the mood of their music, their attitude. The music itself.” When Monkey Man, by The Rolling Stones, is played at the end of Goodfellas (as Henry Hill goes crazy because of his cocaine addiction), it is no coincidence.  The song wasn’t just placed there because it sounded good. A lot of thought had gone into the use of it. It is no accident that the lyrics, “I’m a sack of broken eggs/I always have an unmade bed,” and “I was bitten by a boar/I was gouged and I was gored” encapsulate the protagonist’s state of mind precisely at that time.

DN: I do think that there is a move in the right direction in the use of existing music, as artists are looking for sync opportunities, and brands are looking for great songs – we are seeing more integrated campaigns, and ideas that are conceived with an artists and a tie in, in mind. That said, the last minute rush still makes up the majority of cases.

What can properly researched and chosen music bring to a project?

DN: It can unlock audiences for brands trying to reach out to them, and the media coverage can get the artist to a new audience as well. The right song/brand and campaign can work amazingly for both parties. So an understanding of who you are trying to talk to, and why the song/artist is right to achieve that can be massive. The same goes for film trailers, soundtracks and computer games.

NP: It will bring a project to life. It can be the difference between a good piece of work and a great piece of work, and if proper attention is paid to the sound - from the spot effects right through to the score - the audio will lift a piece of work up and deliver its message clearly. Music is a universal language and an integral part of the cinematic experience that, when used properly will express a character’s emotion, heighten drama, suggest a time and place and establish a mood for the film. Music will also aid viewer understanding, particularly in long form projects where themes can be associated with characters or situations and the sense of familiarity that comes from repeating a musical motif will draw the viewer further in to the character of situation it is associated with.

 The awards will be held at Camden’s Koko; will it be a gig as much as a ceremony?

DN: That’s certainly the plan, we are currently talking to acts – so more news on that very soon. The night will be a stand-out event that’s for sure, ‘more rock and roll than the Ritz’ is our mantra – and we want to make it a night that you will not forget.

If you could be in any band, past or present, which would it be and why?

NP: Now that’s a tough one. I am a musician, and I guess you’re asking me who I think is the best band in the world. There is no way to assess it, my personal tastes span from Aphex Twin right through to Bach and venture into the musical unknown along the way and my choices for listening always depend on my mood (or of course the brief I am reading at the time). I guess if I had to pick one, it would be Led Zepplin, they defined classic rock and have sold more than 200 million albums. Not bad at all.

DN: The Beatles. Because being part of one of the most celebrated bands ever might have been fun.