One approach the studios took that did increase profits was placing a new emphasis on the soundtrack album (containing at least one hit song); this, in turn, put more pressure on composers who were now being asked to include songs in their film scores, whether they filled a dramatic need or not. (This eventually led to the role of the music supervisor, who was responsible for the placement of songs in a film, as a credit seen on many recent motion pictures.) Some composers obliged, while others resisted.
Imagine you are a newly freelance film composer at the end of the 1950s (much like Hugo Friedhofer) and have been asked to score a big budget feature film; at the last minute, however, the music supervisor has asked the director to include in the film a newly written song that has the potential to become a commercial success, and you are trying to accommodate the request. What might be some creative ways you could achieve this while still integrating the song (which has been written by someone else, not by you) into your score?
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Much of what would be possible, creatively, when asked to—at the last minute—include a newly written song in the score for a big budget feature film would depend on the how far along...