Chris Douridas is still most widely known for hosting radio programming on National Public Radio stations, yet it is his work as music supervisor and consultant that makes him notable in industry. Among many films on which he has worked are "Shrek 2," "Under Tuscan Sun," "One Hour Photo," "American Beauty," "Austin Powers" films, "As Good As It Gets," and "Grosse Pointe Blank." He is a consultant for Apple's iTunes and a part of Dreamworks.

"The challenge," Douridas points out, "is finding films directed by people with a vision that includes music." Using examples of how music selections have interacted with filmmaker's concepts, he emphasized that it is "important to have artist invested emotionally."

The Mark of Composer. From his days with Devo, most dadaistic rock group ever released on a major label, up to his latest film score, Mark Mothersbaugh has brought a unique perspective to sonics and business of having a career in music industry. He has composed for a wide array of film and television projects, including "Rugrats" (TV, film and stage versions), "The Royal Tenenbaums," "Rushmore," "Thirteen," "Happy Gilmore," and forthcoming films, "Lords of Dogtown" and "The Life Aquatic with Steve Zissou."

Responding to insightful and often humorous questions from Melinda Newman, Billboard's West Coast Bureau Chief, Mothersbaugh covered a wide range of topics, including composing for commercials: "I always liked creepy way commercials work their music into your brain." He agreed with Newman that "They're subversive." On needs of filmmakers: "Directors are looking for music that compliments universe that their movie has created." On composing for so many children's television programs: "There are advantages to scoring kids shows. You can mix mambos and heavy metal."

Newman pointed out that Mothersbaugh did music score for several films dealing with young women who were coming-of-age, including "Thirteen," "Confessions of a Teenage Drama Queen," "Drop Dead Gorgeous," and others. "Is it difficult to get into mindset of a teenage girl?" Newman asked. "Well, wardrobe is important," Mothersbaugh replied.

Also participating during well-organized conference were such industry notables as Burt Berman, President of Music for Paramount Pictures, Darren Higman, Sr. VP of WMG Soundtracks at Warner Music Group, Robert Kraft, President of Fox Music, and music editor/music supervisor Curt Sobel.

Additional observations included:

"Only go into this industry if you wake up with an ache to write or create." - Tamara Conniff, Co-Executive Editor, Billboard.

"If you're inspired to write something brilliant" for a film, even if it doesn't get utilized, "you've got another copyright for your vault." - Laurie Soriano, of entertainment law firm Manatt, Phelps & Phillips.

"The final song in a film's end credits might be called 'the janitor's song.'" - Lia Vollack.

"When I first started working in music at an ad agency, I couldn't figure out why so many mediocre people were getting to work on some great projects. Then it hit me: it was all about their connections." - Josh Rabinowitz, of Young & Rubicam advertising agency.

"I like using great songs in my pictures. You know, not ones that are there for marketing that you bury by having five seconds of it on radio as a car drives up to camera." - Garry Marshall.

"A lot of this business is agent-driven, so we in legal are just scriveners." - Laurie Soriano.

"Imagine watching a movie without music. It would lack drama, intensity, and excitement." - Tamara Conniff.

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