Skrillex Is Gettin’ Paid Like Rihanna To Score Movies


“This is bullshit, man!” said my inner hipster after brushing a huge dreadlock out of her face. “Fucking mainstream.”

I was definitely perturbed when I first heard that Skillex was composing the original score for the “Spring Breakers” vacation movie. But then I heard it was indie and continued rolling my cigarette.

It was only after I read the article about EDM going “Hollywood” in The New York Times that I felt my “selling-out”-induced pain start to ease.

Sure, the usual suspects in EDM and dubstep are getting paid $40,000 to $50,000 to license a song for single use in a network television show; and, yeah, they’re getting bookoo bucks to the tune of $150,000 to $250,000 to do one song in a film–ONE…but, it’s not EXACTLY easy money.

Scoring a film is likely to be more difficult for artists in the EDM/dubstep genre; those artists that typically write and perform alone might not have the chops to understand the film’s emotions and intentions enough to create music that works in tandem with the movie to create a better narrative–not one that stands out as a separate entity.

That’s according to John Houlihan, a film supervisor of more than 60 soundtracks that include “Training Day” and all three “Austin Powers” movies. But what does he know?!

Well, he knows this:

“Skrillex right now can get as high a fee as Rihanna because he is so unique at what he does.”

He also has some predictions for us about the fate of EDM/dubstep:

“I don’t think it will go on forever,” he said. “Film music trends tend to follow music trends, and the fickle taste of the public is going to get off dubstep at some point in the next year or so.”

That’s quite the prediction. Although, I must say, I DO get pretty pissed every time I hear Calvin Harris’ “Feel So Close” in the background of that HTC One X commercial.

But is stuff like that enough to turn everyone off to the genre within the next year or so?

We did survive Daft Punk‘s music for “Tron:Legacy,” as well as Trent Reznor and Atticus Ross’ for “The Social Network,” and finally the Chemical Brothers‘ for “Hanna.” It wasn’t bad music, either.

People can give them shit all they want, but those songs complimented their respective movies quite nicely–made them better, even.

With that said, I’m looking forward to hearing what Skrill’s got in the bag for us.

P.S. Wouldn’t dubstep work perfectly in martial arts movies? No offense to Mike Shinoda, but “The Raid: Redemption” would have been even better if someone like Knife Party had composed the score. Not like the movie could get much better than it already is…

You know I’m right.

Thanks for sharing fam! Stay in touch!