April 2022
As a music executive, trumpeter Ryan Svendsen's musicianship is equally paralleled by his music supervision. The two avenues combined create a unique understanding of both sides of the music industry, in turn, showcasing an artistic talent that truly sets him apart.
Svendsen's extensive curriculum vitae includes being a UCLA Herb Alpert School of Music alumnus, assisting with music bookings at United Talent Agency and artist management at Azoff Music/Live Nation. His previous experience also includes working at Lionsgate, where Svendsen managed the music campaigns of over 80 Film & TV Soundtracks, including the Academy Award-winning best song and score for La La Land.
He serves as Head of Music at Millennium Media where he has music supervised films such as The Hitman's Wife's Bodyguard starring Ryan Reynolds, Salma Hayek, and Samuel L. Jackson, Till Death starring Megan Fox, Jolt starring Kate Beckinsale, and The Protégé starring Maggie Q and Michael Keaton.
Let’s find out more…
MASA: You’re a trumpeter extraordinaire and have recorded with a wide array of artists including Kanye West, Shawn Mendes and Christina Aguilera. This musical background goes some way towards explaining why you’re such a respected music supervisor. Do you remember when you discovered music – was there a light bulb moment?
RYAN: Thank you for the kind words! I have always associated music with accompanying my life’s soundtrack. There have been moments when I have heard a song for the first time and it cements where I am in that period of my life. When a song plays on the radio, or at the supermarket, or even in an elevator - it transports me right back to when I first heard it. I think that is pretty cool and showcases the power of music. It leaves such a strong impressions on us. It ties into our emotions and brings them out whether we want it to or not! I wanted to be a part of music in some form. It started as a performer after I picked up the trumpet.
MASA: And how did you then go about forging the career you have today?
RYAN: After several internships in college, I made it a goal to be an assistant at a talent agency because I loved the show Entourage. I hated who Ari Gold was as a person, but him being in the mix and a dealmaker was awesome to see. I landed an assistant position in the music department of United Talent Agency. After learning a ton in the role, I then pivoted to music management. I was still an assistant at the mgmt company and saw a coordinator opening at Lionsgate and applied for the job. Luckily I landed it! Over the next 6 years I was immersed in film, music, music supervision, soundtracks, marketing, publicity, and composers. I was fortunate to work on The Hunger Games Franchise and La La Land with a ton of other films in-between. Although I was never able to be a music supervisor at Lionsgate, that changed when I became the Head of Music at Millennium Media. It was something I always wanted and after a decade of being in the industry it came true! So to summarize, it took patience, persistence and perseverance to forge to the career I have today.
MASA: Can you tell us what you are working on currently?
RYAN: Yes! Currently working on 5 feature films. Expendables 4, The Piper, Abyzou, The Bricklayer and The Enforcer. Each picture has a different vibe and direction which calls for different music! I am fortunate to be able to work with some of the most innovative directors, creatives, and composers.
MASA: What are the biggest challenges that you and your team are currently working through at the moment?
RYAN: I believe it is the shift in how media is being consumed ultimately. The rise of streaming platforms has disrupted the traditional theater experience (along with the pandemic) and with that comes a shift in the type of films being made. Risks cannot be taken as much anymore on new franchises because the guarantee of box office revenue and DVD sales aren’t as strong as they used to be to recoup a loss. Alternatively, all these streaming platforms need great content so we as producers and financiers of these projects have a ton of places where our films can land and be distributed which makes it extremely exciting.
MASA: What have been your personal highlights from your time so far at Millennium?
RYAN: 2021 was a big year as 4 feature films I music supervised were released! The Hitman’s Wife’s Bodyguard, The Protégé, Till Death, and Jolt. I also secured a publishing deal for our music catalog with Kobalt which has been fantastic. Two of the films I worked on were distributed by Lionsgate, my former employer, so it was great to work with them again in a capacity that I am very familiar with!
MASA: How do ensure that you get to the crux of a Director’s vision? What do you need to garner from them before you can get started? And at what point do you tend to get involved in a project?
RYAN: For me, it’s all about being of service to the Director by being transparent, friendly, and direct. I want to cater to their vision and provide them with innovative and realistic possibilities to enhance their project. I love being involved from the beginning. From assessing the music needs at the script stage to gathering composer reels to discuss with the Director, to sending quotes and sculpting the music narrative throughout. I usually sit down with them to see where they are at and get a read as to how important music is to them and what they are envisioning. I pride myself on not letting my ego get in the way of projects I work on and to mediate between the studio, creatives, and executives to make sure we get the music to a great place!
MASA: What new / emerging artists / bands are you listening to at the moment?
RYAN: Masego, Japanese Breakfast, and Baby Keem
MASA: How do you think a competition like The Music+Sound Awards impacts the industry?
RYAN: Awards, much like music, are extremely subjective. What is special about The Music+Sound Awards is that they cater to honoring a subsect of our industry that doesn’t often receive that recognition! It puts a spotlight on more behind-the-scenes talent in a creative field that a lot of people enjoy! So not only does it expose and showcase possibilities to those wanting to enter the industry, but it also gives motivation and validation to those who excel in those fields. A win-win for all!
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
RYAN: Overall production value, cultural impact, and musicality.
MASA: Thank you so much for chatting to us Ryan. Having jurors with your expertise and experience on The Music+Sound Awards’ panel is what makes it so eminent.
Find out more about Millennium Media HERE and also a must is checking out Ryan starring in his original children programming series Tone Trumpet and his Cactus Choir adventures which has amassed 1.1 Million followers on TikTok!
