Hollywood Exec Sounds the Alarm on State of Screen Music in L.A.: “I See the Infrastructure of the Recording Industry About to Fail”

by

The job of creating music for movies and TV shows in Hollywood is currently facing a significant risk of destruction, unless prompt measures are taken to preserve it.

In a public message, Peter Rotter – a music and orchestra contractor known for his work on films like Avatar, Frozen, and Deadpool – urges the industry to take action. This call is intended to rally not only the music fraternity, but also studios and production companies.

In an open letter, Peter Rotter, a well-known music and orchestra contractor who has worked on hits such as Avatar, Frozen, and Deadpool, calls upon the industry for action. His appeal extends beyond the music community, reaching out to studios and production companies as well.

Rotter expressed deep worry in a letter shared within Hollywood circles about the impending collapse of L.A.’s recording industry infrastructure. It won’t be long before this occurs, unless we, as a collective, rally together and bolster the livelihoods of our fellow citizens in this city.”

or simply:

“In a letter circulating among Hollywood professionals, Rotter expressed deep concern about the approaching collapse of L.A.’s recording industry infrastructure. Without immediate action from us as a community to support its people, it’s only a matter of time until this happens.

His warning arrives at a time when Hollywood is grappling with multiple challenges, some literal and symbolic fires on various fronts. Issues such as COVID-19, writer and actor strikes, and the aftermath of these strikes have taken a heavy toll on the film industry. To make matters worse, production is leaving the state, and often the country, lured by attractive tax incentives in other locations.

One often overlooked issue involves the global shift of post-production work to various locations. This change has led to a significant brain drain in Los Angeles, impacting artists, producers, and executives in fields such as sound and visual effects. Notably, musicians and those supporting them play crucial roles in this scenario.

As an orchestra coordinator, Rotter gathers musicians and artistic talent to form ensembles that breathe life into scenes and sequences, taking them beyond mere existence to evoke deep emotions in the audience. With over a thousand projects under his belt, he has worked on films like “Cross”, “Moana 2”, “Transformers One” and “Juror #2”, but his experience goes back to “Minority Report”, “Ice Age” and “Elf”. He is widely recognized as the veteran in this field by many.

Over the past century, Los Angeles was once filled with melodies wafting from studios scattered across its landscape. However, now only Fox, Sony, and Warner Bros. maintain scoring stages. Rotter, a long-time observer of the industry, has seen stage work gradually diminish over the years. Yet, in the last decade, this decline has speeded up significantly, leaving most studio lots largely empty most days. The primary reasons for this shift include financial issues like residuals and union pressures, making it more cost-effective to produce music abroad. This trend in outsourcing could serve as a warning sign, akin to the canary in a coal mine.

A postproduction executive remarked that we’re seeing a rapid departure from postproduction, and this exodus of musicians is just the start of more losses,” said one source.

Rotter, who was awarded an Academy Award last year for executive producing the short film The Last Repair Shop, which focuses on Los Angeles and music, is aiming to rally executives and politicians, much like he supports artists on stage. His goal is to save a part of Hollywood that he believes is teetering on the edge of extinction, using his influence to sound the alarm.

He expresses this sentiment to The Hollywood Reporter: ‘I’m acknowledging what’s transpiring, and if we don’t act urgently to revitalize L.A., there may come a day when it’s no longer here,’ he warns. ‘We’re closer to that reality than many realize.’

Read the letter in its entirety below.

Dear friends, colleagues and music industry leaders and professionals,

Growing up and living in Los Angeles all my life as a local gamer, it’s heart-wrenching to see the havoc the recent wildfires have caused among our gaming community.

When one among us feels pain, it resonates through our entire community. We’re a closely-knit group of artists (composers, instrumentalists, singers, technicians, editors, stagehands, copyists, orchestrators, conductors, arrangers, music directors, producers, supervisors, executives, and many more) who share an unbreakable bond. In light of this connection, I felt it necessary to extend my empathy to you all from the depths of my heart.

Prior to the fires, our music community had faced a tough time due to COVID-19, followed by a series of strikes and an unexpected decline in the number of films and TV shows being produced. It’s worth noting that work has been moving away from L.A. for various reasons. I acknowledge that these decisions, which are typically made well in advance, take into account factors such as film locations, tax credits/incentives, and other external influences beyond our comprehension.

As a passionate advocate for this industry and its hardworking individuals, I felt compelled to reach out directly to explore potential solutions during these challenging times. Our stages, usually bustling with activity, have been largely deserted, leaving stage crews to seek additional employment as they struggle to make ends meet due to the reduced work schedule – many stages are operating just 3-7 days a month. The musicians here in L.A. are also struggling financially as the demand for scoring has significantly decreased, and now, on top of that, the fires have added to their losses.

I feel deeply concerned about the impending collapse of the Los Angeles recording industry, and it seems inevitable unless we as a community unite and support the local artists and workers. This is crucial, regardless of any union disputes, regardless of your company’s non-affiliation with the AFM, regardless of the absence of tax credits or incentives, regardless of productions being filmed outside of the U.S. or Canada, and regardless of any other factors that might discourage you from working here.”

The revised text maintains the original’s message while using simpler sentence structures and more common phrasing to make it easier for readers to understand.

Following the wisdom of Lincoln who once urged us to “appeal to the noblest aspects of our character,” let’s strive to transform this challenging scenario for the better, ensuring the longevity of our industry. We recognize the importance of unity and collaboration among all parties involved, as we aim to create a more enjoyable work environment for everyone. This includes brainstorming new and improved business models, seeking tax incentives in L.A., and loosening some union restrictions to make this an attractive place to work. These changes are crucial and will indeed occur; that’s what negotiation and open dialogue are all about. However, it’s important to note that we are currently in a two-year agreement with both AFM and SAG.

Throughout my professional journey, I’ve dedicated myself to forging robust connections based on trust, compassion, and honesty. Now, as your friends and associates, I humbly request that we brainstorm ideas to revitalize our music industry – let’s find ways to inject it with renewed energy and vitality.

Let’s together breathe life back into the music scene that used to resonate powerfully from our historical venues in our town, which now seems quiet and motionless.

As an enthusiast, I’m more than willing to engage in conversations about potential possibilities and actions that could bring this vision to life. Whether it’s Jasper or myself, we’re ready to facilitate communication with the unions or the musicians if needed.

Thank you for reading, and thank you for your consideration.

With much respect and hope,

Peter

Read More

2025-01-20 03:25