This year's Palm Springs International Film Festival showcases a plethora of music documentaries, reflecting a golden age for music biographies. While these films may not be on the shortlist for Best Documentary Academy Awards, they highlight the intricate relationship between filmmakers and the music industry. The surge in music documentaries raises questions about their authenticity and the role of publishers in shaping content. This article explores the complexities involved in producing these films and the influence of music publishers on the final product.

Documentary Production Challenges: Navigating Rights and Permissions

Making a music documentary is no simple task. Filmmakers must navigate an extensive network of rights holders to secure permission to use copyrighted songs. This process often involves multiple parties, including songwriters, publishers, and estates of deceased artists. For instance, "Janis Ian: Breaking Silence" required the involvement of Sony Music and Seven Seas Music to clear Janis Ian’s catalog, demonstrating the complexity of obtaining permissions.

The documentary "Billy Preston: That’s the Way God Planned It" features 26 producers and executive producers, highlighting the collaborative effort needed to clear song rights. George Harrison’s widow, Olivia, and Universal Music Publishing Group’s CEO, Jody Gershon, were instrumental in ensuring the film could showcase Preston’s work with The Beatles. Similarly, "Paul Anka: His Way" benefited from the support of Irving Azoff and Lawrence Mestel, who played crucial roles in securing music licenses. These collaborations underscore the importance of industry connections in bringing such projects to life.

Publishers' Role and Financial Implications: Shaping Content and Exposure

Music publishers have become key players in the production of documentaries. Their financial investments in acquiring song catalogs mean they seek returns through various means, including producer credits. Publishers like Sony Music and Universal Music Publishing Group ensure that filmmakers can use songs without fear of legal repercussions, thereby promoting wider exposure for both the documentaries and the music itself.

However, this arrangement raises concerns about the objectivity of these films. Critics argue that some documentaries lean towards hagiography, presenting sanitized versions of artists’ lives rather than comprehensive biographies. Bob Lefsetz, a music industry pundit, has criticized many books and documentaries about musical artists for lacking critical perspectives. The promotional tone in recent music documentaries can be attributed to the financial interests of publishers, who aim to protect and promote their assets.