“The relationship that an artist can have through a label has increased fifty-fold,” says Cavallo. But Cavallo is optimistic that old patterns can change. If the script is strong, you can really play around with ideas and allow people to be really creative, as long as they’re within the guidelines of what you, the director, are expecting.”Įven with a once-in-a-lifetime smash like Michael Jackson’s short film Thriller, though, the label only made a minimal investment these days, most big-budget music videos are heavily supported by advertisers in exchange for product placement. With movies … you have to have a pretty rock-solid script. “, you want to capture the essence of the music and help people recognize whoever is making the music. “I think there are a lot of parallels and a lot of differences,” says Hahn. Particularly in the music video era, these two areas of the entertainment world are more connected than ever. To be sure, there are plenty of other musicians who’ve made a splash in the film world, from Elvis Presley to Rob Zombie to Nick Cave to Michael Jackson. 3 on the charts but sold 110,00 copies in its opening week-compared to Meteora's 810,000 total in 2003-the silver screen represents another way to diversify. And for acts like Linkin Park, whose latest effort The Hunting Party debuted at No. “I wanted to eventually follow in my father’s footsteps in that regard.”Īs an album, Purple Rain stands as one of barely 100 in history to earn the RIAA’s rare Diamond certification for sales of over 10 million units in the United States. “When I was in college, I watched my dad produce and go to bat for Prince’s Purple Rain, which was an enormously exciting thing to watch happen,” says the younger Cavallo. He helped find financing for the latter’s film debut in the early 1980s. His father, Bob Cavallo, had a long career in the music business that began as a nightclub owner and included stretches managing acts including the Lovin’ Spoonful, Green Day and Prince. He produced Alanis Morrissette’s “Uninvited” and the Goo Goo Dolls’ “Iris” from the City of Angels soundtrack, among others he also produced the soundtrack of the film adaptation of the musical Rent. When I did this, it was before Len Blavatnik bought the company.”Ĭavallo himself has a deep connection to the intermingling of film in music. “I think that with our new ownership … that’s more of a reality than ever. “Creating a wider array of content based on our artists’ visions and ambitions was an important thing,” says Cavallo. Though the company wasn’t interested, Cavallo himself volunteered. Hahn was hoping to find that sort of attitude a few years back when he started looking for investors (“I pretty much raised the majority of it through relationships,” he says). Their reasoning has long been that they’re investing in artists supporting musicians’ forays into film could be one way for record labels to stay relevant. With physical sales and mp3 downloads losing ground to streaming every day, labels are under increasing pressure to justify the size of their cut of acts’ revenues.
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