chapter  7
12 Pages

Understanding creative roles in entertainment: The music supervisor as case study

ByNatalie Lewandowski

There remains in the study of film a tendency towards ‘auteur’ analysis. This romantic

model of creativity understands all important creative decisions as being under the authority

of a single individual (usually the director). While such an approach may work well in

approaching artistic modes of production – where the expression of a single individual is

the rationale for the production of culture – it works less well for understanding the

production of entertainment. Entertainment is always audience centred. It is made with

audiences in mind, and attempts to give them what they want. Such a model introduces a

more complex model of creativity. It demands a series of jobs which might be broadly

labelled ‘producing’ roles. The people in these roles are those who balance creative,

business and legal skills. They negotiate between the creative artist and the paying

Natalie Lewandowski

audience. They do not necessarily have any technical skills (e.g. playing a musical

instrument, or using a camera) – rather, their valuable skills are intellectual ones

(understanding audiences, managing teams, a familiarity with copyright laws). They work

as part of a collaborative creative team.