How Can You License Shut Up And Dance For A Film?

Quick, practical checklist from someone who’s cleared music for a couple of shorts: first, identify publishers via PRO databases and the label for the master. You must get a synchronization license from the publisher for the composition and a master use license from the label if you want the original recording of 'Shut Up and Dance'.

When contacting rights holders, give specifics: scene context, clip start/end times, prominence, territories, media (festival, theatrical, VOD, streaming), and whether trailer rights are needed. Negotiate term, exclusivity, and fee structure — many publishers demand a flat sync fee, while labels often want more for masters. If the price is too high, consider commissioning a new recording (still need publisher sync) or using production music.

Don’t forget legal details: a written license with indemnity, credit requirements, and a cue sheet after final mix. Timing matters — start clearances early. If it’s overwhelming, hiring a clearance specialist or music supervisor is worth the cost for peace of mind.

I get a little giddy thinking about nailing a big pop song into a movie scene — using 'Shut Up and Dance' is totally doable, but it’s a two-part clearance and a bit of bargaining. First, you need a synchronization license from the music publisher(s) because that covers the composition (lyrics and melody). Second, if you want the actual Walk the Moon recording, you also need a master use license from whoever owns the recording (usually the record label). Those are separate deals, and either one can kill or make the whole thing depending on price and willingness to license.

Practical steps I use: 1) Identify rights holders by searching PRO databases like ASCAP, BMI, or PRS — they list the publisher(s). For the master, Discogs or the liner notes tell you the label, or look on streaming services/YouTube for label credit. 2) Reach out with a clear brief: exact timings, how the song is used (background vs on-screen/diegetic), territory, media (theatrical, streaming, TV), duration, and whether you need trailer rights or exclusivity. 3) Negotiate: expect fees to vary wildly — indie fees can still be a few thousand dollars, while major commercial placements can be six figures. Sometimes publishers want a flat sync fee, sometimes a share of soundtrack revenue, sometimes restrictions on how long the clip runs.

If costs are prohibitive, I’ve gone the re-record/cover route: you still need the sync license for the composition, but you don’t have to pay for the original master. Another route is hiring a music supervisor or a clearance house — they speed up contact and leverage experience, especially for complex catalogs. And remember, trailer rights are often separate, and festivals vs global streaming need clearances, so lock those down early. I usually prep a cue sheet and contract language to keep everything tidy before final delivery, and it saves so much headache later.

I’ll be blunt: licensing 'Shut Up and Dance' for a film involves paperwork, patience, and sometimes poker-faced negotiation. My first move is always research — find the publisher(s) (ASCAP/BMI search is my go-to) and the label for the master. Once I know who to talk to, I send a single, precise email: who I am, the project, a one-paragraph scene description, exact clip length, and the territories/media I’m targeting. Clarity gets replies faster.

From experience, publishers ask about how the song is portrayed (positive, negative, ironic), whether lyrics are intact, and how prominent it is. That influences price. If you need the original recording, the label will want to know the same and may demand higher fees or deny use for certain contexts. For indie budgets I try to offer a limited term, no exclusivity, or festival-only permissions first, then expand rights once distribution is clearer. Also, trailer licensing is usually a separate, typically stricter negotiation — don’t assume your film sync covers trailers.

If this sounds like a headache, consider alternatives: commission a sound-alike, license a cover (cheaper master cost but still needs sync), or use library music. I often use a music supervisor on bigger projects; they make the contacts and sometimes have existing relationships that lower costs. Bottom line: be transparent, give exact specs, and start early — rights clearance can take weeks to months depending on who you’re dealing with.