The changing face of music rights: film, video games and global platforms
Writing for NODE, Howard Ricklow explores how music rights are evolving as major entertainment franchises move between film, video games and multi-platform global distribution.
Howard has advised composer, producer and recording artist David Arnold for much of his distinguished career, negotiating deals across film, recorded music and other creative projects. David’s work includes scores for more than 60 films, among them Independence Day, Stargate, Godzilla, Zoolander, Made in Dagenham and five consecutive James Bond films: Tomorrow Never Dies, The World is Not Enough, Die Another Day, Casino Royale and Quantum of Solace.
In his article for NODE, Howard considers how the legal framework around music rights is changing as major franchises extend beyond cinema into interactive entertainment. His reflections draw on recent work representing David in connection with 007 First Light, the action-adventure video game published by IO Interactive, for which David was commissioned to write and produce the title track.
While film scores and video game music share many legal foundations, video games add further layers of complexity. At the heart of both are two key copyrights: the copyright in the sound recording, typically requiring a master use licence, and the copyright in the musical composition, requiring a synchronisation licence. These rights allow music to be paired with visual content, whether in a film or an interactive game environment.
However, games differ from films in the way music is used. Film music usually follows a linear sequence, whereas video game music can be adaptive, layered and responsive to player action. This means publishers may need rights to manipulate, loop, recombine or disperse musical elements within a wider score. For composers, performers, record companies and music publishers, this raises important questions about ownership, control, exclusivity and exploitation.
Howard also highlights the importance of brand identity. A franchise such as Bond must preserve its instantly recognisable musical character while appealing to new audiences across different platforms. The creative challenge is matched by a legal one – ensuring that all relevant parties have agreed how the music can be used, adapted and distributed.
Howard notes that as entertainment becomes increasingly interactive and platform-agnostic, music rights need to be negotiated with future uses in mind. The move from film to video games is not simply a change of format; it is a shift in how music is created, experienced and commercially exploited.
Read Howard’s full article in NODE here.
