{"id":27995,"date":"2026-09-25T14:12:10","date_gmt":"2026-09-25T19:12:10","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=27995"},"modified":"2026-09-28T08:28:30","modified_gmt":"2026-09-28T13:28:30","slug":"julia-michels-on-music-supervision-for-the-devil-wears-prada-pitch-perfect-and-more","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/julia-michels-on-music-supervision-for-the-devil-wears-prada-pitch-perfect-and-more\/","title":{"rendered":"Julia Michels on Music Supervision for The Devil Wears Prada, Pitch Perfect, and More"},"content":{"rendered":"\n<h2 id=\"h-the-grammy-winning-music-supervisor-talks-storytelling-song-selection-and-teaching-in-berklee-online-s-new-music-supervision-graduate-program\" class=\"wp-block-heading\">The Grammy-Winning Music Supervisor Talks Storytelling, Song Selection, and Teaching in Berklee Online\u2019s New Music Supervision Graduate Program<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Julia Michels often works as a music supervisor on films where the music itself is a main character. Just look at some of her biggest credits: She won a Grammy for her music supervision work on <em>A Star Is Born<\/em>, a love story between two musicians; she worked on all of the movies in the <em>Pitch Perfect<\/em> series, which follows a college a cappella group into an increasingly competitive field; and she did the music supervision for <em>The Greatest Showman<\/em>, an original musical loosely based on P.T. Barnum, full of singing and dancing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So it\u2019s fitting that Michels teaches <em><a href=\"https:\/\/online.berklee.edu\/courses\/from-script-to-screen-storytelling-through-music?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">From Script to Screen: Storytelling through Music<\/a><\/em> as part of Berklee Online\u2019s new <a href=\"https:\/\/online.berklee.edu\/music-degrees\/graduate\/music-supervision?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">Master of Arts in Music Supervision<\/a> program. The course focuses on something she\u2019s been doing throughout her career: using music to help tell a story.  <\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You\u2019ve worked on so many projects where the music is inseparable from the way the audiences remember the movies. Can you take us back to one musical decision that looked small at the time, but ended up having a much bigger impact than you expected?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> The classic example for me of something that seemed small but became iconic in music supervision is the opening title of the first <em>Devil Wears Prada<\/em> film. That was a movie based on a book that people were excited about. We were crafting the musical landscape and the opening title was a big featured sequence that was going to set the tone of the music. Finding that one song, \u201cSuddenly I See\u201d by KT Tunstall, really landed so well in that opening title sequence and commented on not only the action, but the characters. The lyrics and the music were so popular that it just launched the whole <em>Prada<\/em> series into the zeitgeist of music that people still talk about. The interesting thing about that is that it was all existing music. There was no original music in that movie, but we managed to find this music that defined the <em>Prada<\/em> landscape. Along with the score, I think the music is kind of iconic all around.\n\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Devil Wears Prada Opening Scene\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/bG_xdkGrwSA?start=5&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>In most placements, you don\u2019t have to worry about the song itself because that\u2019s a known commodity and it won\u2019t change because it\u2019s a definitive recorded version that you\u2019re dealing with. But then you take something like <em>Pitch Perfect<\/em> or <em>A Star Is Born<\/em>, where these are going to be either brand new songs or wholly original interpretations of them. What\u2019s the difference in your approach with projects like that? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> In something like <em>Pitch Perfect<\/em> we have to choose the music that will tell the story before we even shoot. We also had to arrange all the songs, then the cast had to record them, and then we shot. So it\u2019s very different from choosing an existing piece of music for a montage or a background.\n<BR><BR>\nIf you\u2019re in a club and you\u2019re looking for something fun to dance to, you have to figure out what song is going to tell that story in that scene. Then you have to hire people to do the arrangements. Then you have to clear the music. Then you have to have the cast record the music, and then you go on set and you monitor the whole situation.\n<BR><BR>\nWe call that an on-camera movie, which is very different from a non-on-camera movie. That is really a learned skill. That\u2019s something that I\u2019ve done over the course of my career. I enjoy that very much. It\u2019s a lot of work, but I enjoy that process because you really get to know the cast.\n<\/p>\n<\/div>\n\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Let\u2019s talk a little bit more about <em>Pitch Perfect<\/em>. Choosing a song like \u201cDon\u2019t You (Forget About Me),\u201d which had already appeared <a href=\"https:\/\/youtu.be\/g3CUh8v7MNo?si=ZyFkStO_n-0IjeGJ\" target=\"_blank\" rel=\"noopener noreferrer\">in a different iconic movie<\/a>, seems like you\u2019re setting the bar unnecessarily high for yourself! But you did clear it! <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> The choice of \u201cDon\u2019t You (Forget About Me)\u201d was integral to the story, because it was a point where the character Jesse was introducing to Becca a movie that she had never seen. So first we had to decide what that movie was going to be. That song wasn\u2019t the first choice. There were a couple other choices, but we landed on \u201cDon\u2019t You (Forget About Me)\u201d because that was very integral to their storyline and their relationship, they had kind of a falling out. At the very end, at this finale, we wove, \u201cDon\u2019t You (Forget About Me)\u201d into the mash-up. So then Jesse\u2014when he was sitting in the audience\u2014got to understand that Becca was reaching out, sort of as an olive branch, to say, \u201cI\u2019m sorry\u201d and kind of reconnect with him. That was very intentional, how we chose the movie,  and we chose the song from the movie, and then we wove it into the finale.\n\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pitch Perfect (10\/10) Movie CLIP - The Finals (2012) HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/vOTtCjGqXYo?start=53&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You said that \u201cDon\u2019t You (Forget About Me)\u201d wasn\u2019t the first choice. Are you allowed to say what song and movie you originally had in mind? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong>  I\u2019m trying to remember what that was. It was so long ago. I don\u2019t want to speak out of turn, and I can\u2019t remember what the original choice was.\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>When a movie you\u2019ve worked on gets a sequel, how do you move that story forward without repeating yourself, but also maintain some of the original identity? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> That\u2019s a really good question. I\u2019ve definitely worked on a few sequels before. In the case of <em>Devil Wears Prada<\/em>, it was 20 years later. The first thing that had to start was the story. I think they did a great job with the story. It was so relevant to now that magazines are not really a thing anymore, everything\u2019s digital, the newspaper and magazine print industry is dying. So how do Miranda, Andy, and Nigel exist in this world today? And what does that world look like musically? So we thought a lot about 20 years later, who would they be? What would they be wearing? What would they be listening to? And really, what kind of came about is this very sophisticated sound that\u2019s coming out of London, the SIENNA SPYROs and the Olivia Deans. We kind of latched onto that after we chose Lady Gaga to be <em>in<\/em> the movie, in her iconic scene in Milan. Of course, she wrote some songs for the film as well. \n<BR><BR>\nIt\u2019s very intentional when you do a sequel, you want to be different. It really is led by the filmmakers and the story. My job is to tell the story and help them tell the story through music. It\u2019s very collaborative and that\u2019s what I really enjoy about it.\n\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE DEVIL WEARS PRADA 2 | 2026 | THE BEGINNING\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/OpVAHS1gqYE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>One more question about the two <em>Devil Wears Prada<\/em> films being 20 years apart, we talked about what had changed in the characters\u2019 industries, but what about what\u2019s changed in yours? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> What changed in 20 years in the music supervision world is that I used to go to the record store, buy CDs, walk into my editorial room with my music editor, and line up my CDs by scene, so we would import the music. We cut the music into the scene, and then the director would come in, and we\u2019d show the picture. Now everything\u2019s digital, so things happen much quicker. I make playlists, and we send them over to a music editor. The music editor will send me a scene. It\u2019s so much quicker. I love both ways, but it is nice to be able to be more productive in the digital world and just get more music in front of your filmmakers or your showrunners so they can make the decisions that they want to make.\n\n<\/p>\n<\/div>\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Do you think it\u2019s easier to find your way into music supervision now than it was when you were starting out?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> \nWhen I was young and trying to get into the music business, I didn\u2019t even know music supervision was an actual career. I would have loved to have something like the <a href=\"https:\/\/online.berklee.edu\/music-degrees\/graduate\/music-supervision?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;utm_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">Berklee Online program<\/a>, because I think that the authors who are writing these courses are experts in their field. You\u2019re going to learn so much about our craft, and you will be so much further along, stepping into this world, just when you enter, if you get a chance to take these classes.\n<\/p>\n<\/div>\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You mentioned that you didn\u2019t even know music supervision was a career when you were starting out. I have to imagine that there are probably still plenty of people who aren\u2019t entirely sure what music supervision even is. How do you define it?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> Music supervision is feeling. You can\u2019t be a great music supervisor if you don\u2019t feel the music first. You can intellectualize it. You can strategize about it. But when you\u2019re in a theater or you\u2019re watching a show, and you want to relive what you were feeling when you watched it, that\u2019s why. Because someone\u2019s done a great job curating the music in that episode or that TV show that makes you want to either buy the soundtrack or rewatch the film. So I always say that music supervision is feeling.\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Where do you do most of your hunting for songs? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> Well, luckily, I\u2019m in the buying position, which I love. Especially with <em>The Devil Wears Prada<\/em>, people throw music at me, which is wonderful. So publishers, labels, managers, and agents send me all new music that they\u2019d like to be in one of my projects. Then of course, I use Spotify and Apple Music equally. The nice thing about having relationships with our labels and our publishers and the people I just mentioned is that they\u2019re always in my ear about what\u2019s coming out, what\u2019s new, who\u2019s doing what. They know what I\u2019m working on, they try to sell me on ideas. It\u2019s very collaborative and our community is so small. A lot of times they just come to me and say, \u201cI have this idea.\u201d And I would be like, \u201cOh, I didn\u2019t even know these artists existed. This is a great idea!\u201d\n\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You probably don\u2019t hear much bad music, do you?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> [Laughs] No one\u2019s ever asked me if I hear bad music. But it\u2019s true! I don\u2019t really hear bad music. What I tell the people that work for me is this: When you\u2019re pitching music, first of all, it has to be a great song. It doesn\u2019t even matter if it <em>works<\/em> yet. It has to be a great song. It has to be recorded well, the mix has to be great. After that, then you can judge if it\u2019s going to work in a film. But I get to listen to a lot of great music. I\u2019m very lucky!\n\n<\/p>\n<\/div>\n\n\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>So many of your films that you\u2019ve worked on are about music, in some capacity.  Does that make it easier or harder? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> I think that my movies that are about music become a little more complicated because we want to be authentic about the music. So the research is very important; playing the right instruments, playing the right guitars, having the drums on set that are supposed to mimic the drums that are in the track, etc. It becomes a little bit more intentional and research-based because you want to get it right for the viewers who are watching what you\u2019re creating.\n\n<\/p>\n<\/div>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>What about something like <em>The Greatest Showman<\/em>, where it\u2019s a new musical? What is your role on a project like that?<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> <em>The Greatest Showman<\/em> was a movie that had a lot of moving parts, basically, because I developed that music for three years before we shot a frame. It was myself and the director and we went out to maybe 15 to 20 producers and writers to write demos for all those songs. It was long and it was arduous. Finally, some songs came in that rose to the top. Those songwriters wound up doing the movie, but it took a long time to get there. It was a long process of passion and then, of course once the songs are written, then there\u2019s a lot of arranging the songs and having the cast sing the songs. There was a very long development process on <em>The Greatest Showman<\/em> and I\u2019m very proud of that. I\u2019m very proud of what we did and how we stayed intentional, and I have a lot of great music on my computer that never saw the light of day from that process.\n\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Greatest Showman - The other side [Full HD Scene]\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KL2bISAB1j8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>How important do you feel it is to have experience in creating music to be a music supervisor? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Julia Michels:<\/strong> It\u2019s a really good question. How important do I feel that it is to have experience creating music? I am not a musician. I played the flute and the piano when I was younger just because everyone else did. I was a choreographer. I was a gymnast. I did cut my own music. Again, when I said that music supervision is feeling, I feel like music is in my body and it\u2019s in my soul and my spirit. So I don\u2019t think you have to have any experience creating music. You just have to have a passion for music. You have to want to consume music. You have to know who wrote the songs and produced the songs. Most people do have a passion for music, but there\u2019s an inherent love of storytelling and that\u2019s really what <a href=\"https:\/\/online.berklee.edu\/courses\/from-script-to-screen-storytelling-through-music?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;utm_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">my course<\/a> is about. It\u2019s about storytelling and how music moves a story forward. Once you understand that, you can be a great music supervisor.\n\n<\/p>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>From <em>A Star Is Born<\/em> to <em>The Greatest Showman<\/em>, Grammy-winner Julia Michels has helped shape some of Hollywood\u2019s biggest musical moments. Now she brings that experience to Berklee Online as the author of <a href=\"https:\/\/online.berklee.edu\/courses\/from-script-to-screen-storytelling-through-music?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;utm_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><em>From Script to Screen: Storytelling through Music<\/em><\/a>. In this wide-ranging interview, she discusses finding the right song, working with filmmakers and artists, and why the best music supervision starts with feeling.<\/p>\n","protected":false},"author":13,"featured_media":27996,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,35,9560],"tags":[10124,10341,6194,10335,172,7050,10338,10339,10332,10122,7310,7899,10340,996,10331,10126,10334,10337,6002,10336,10125,10333,10128],"class_list":["post-27995","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-instructor-profiles","category-spotlight","tag-a-star-is-born","tag-andy-sachs","tag-apple-music","tag-august-rush","tag-berklee-online","tag-bradley-cooper","tag-dont-you-forget-about-me","tag-flashlight","tag-from-script-to-screen-storytelling-through-music","tag-julia-michels","tag-kt-tunstall","tag-lady-gaga","tag-miranda-priestly","tag-music-supervision","tag-music-supervisor","tag-pitch-perfect","tag-pitch-perfect-2","tag-simple-minds","tag-spotify","tag-suddenly-i-see","tag-the-devil-wears-prada","tag-the-devil-wears-prada-2","tag-the-greatest-showman"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - 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