From Baby Driver to Atomic Blonde, “Streaming Has Saved the Movie Soundtrack”. John Houlihan’s mission seemed impossible. The music supervisor for Atomic Blonde had to win over George Michael, New Order, and Public Enemy, with nothing but a little bit of cash and the promise that their music would be playing as a backdrop to Charlize Theron doing badass spy stuff in 1989 Berlin. As someone who has been soundtracking films for more than 20 years, Houlihan knew in theory how to convince them and their licensors—bartering, negotiation, outright pleading—but the soundtrack-licensing game today is much different than it when he was finding music for Austin Powers. Read the article at Wired.
A soundtrack, also written sound track, can be recorded music accompanying and synchronized to the images of a motion picture, book, television program or video game; a commercially released soundtrack album of music as featured in the soundtrack of a film, musical or TV show; or the physical area of a film that contains the synchronized recorded sound.
The term soundtrack now most commonly refers to the music used in a movie (or television show), or to an album sold containing that music. Sometimes, the music has been recorded just for the film or album (e.g. Saturday Night Fever). Often, but not always, and depending on the type of movie, the soundtrack album will contain portions of the score, music composed for dramatic effect as the movie’s plot occurs. Read more at Wikipedia.
Related: How Film’s Top Composers Push Past Constraints Of On-Demand Creativity