# THE BAKER: Music Licensing Scan of the Screenplay **Date:** 2026-05-08 **Use:** Production and legal inventory of all music cues requiring clearance or licensing. **Source:** `notes/THE_BAKER_script_extracted.txt` **Status:** Internal working document. Forward to production legal and music supervisor. ## 1. How to read this note Each entry lists: - the screenplay cue - the scene context - whether it is diegetic (heard by characters) or non-diegetic (score only) - whether it requires a sync license, master use license, performance license, or composer original - the territory sensitivity if any - estimated clearance complexity ## 2. Confirmed music cues requiring licensing ### 2.1 Fairuz — "Bhebbak Ya Lebnan" **Screenplay location:** line 4386 **Scene:** Billy puts a vinyl record on a turntable. He remembers Fredric's music, then smashes the turntable. **Cue text:** > BILLY stumbles across the room and puts a vinyl record on a turntable. > > BHEBBAK YA LEBNAN. FAIRUZ. > > This fucken song! — He drove me fucken mad listening to this shit. **Type:** Diegetic **License needed:** - Master use license (recording) - Sync license (composition) - Possible mechanical if vinyl is shown as physical object in detail **Complexity:** High **Why:** Fairuz is one of the most iconic Arab singers in history. Her estate and publisher are closely guarded. Lebanese, Arab, and diaspora audiences will recognise this instantly. The song is emotionally central: Billy destroys the voice of the homeland his father loved. **Territory sensitivity:** - Strong positive recognition in Lebanon, Syria, Jordan, Palestine, Iraq, and diaspora. - Possible political sensitivity depending on Fairuz's historical associations and current regional licensing partners. **Action needed:** - Confirm whether this is the final Fairuz choice or a placeholder. - If final, engage Arab music licensing specialist early. - If placeholder, identify alternative Lebanese or Arab iconic song with similar diaspora resonance. - Consider whether the record label is EMI Arabia, Voix de l'Orient, or another rights holder. **QAPE note:** If recorded in Australia for the film, this is not QAPE. If the original master is licensed, it is a license fee, not Australian spend. --- ### 2.2 Richard Strauss — "Fünf Klavierstücke, Opus 3, Andante" **Screenplay location:** lines 2781, 2799 **Scene:** GEBRAN presses record while a young girl plays piano in Lebanon. Intercut with Isabella playing the same piece in Australia. **Cue text:** > PIANO MUSIC — FÜNF KLAVIERSTÜCKE. OPUS 3. ANDANTE. BY RICHARD STRAUSS. > > MUSIC CONTINUES OVER — > > ISABELLA, playing the SAME PIANO PIECE. She's good but occasionally, aiming for perfection, she stumbles and repeats phrases. **Type:** Diegetic (the characters hear it; Gebran records it) **License needed:** - Sync license for the composition (Richard Strauss, public domain in most territories but confirm by territory) - Master use license if a specific recording is used - If recorded live for the film, composer is public domain, but performer and recording rights apply **Complexity:** Medium to low **Why:** Strauss died in 1949. In many territories the composition is public domain, but this varies: - EU: public domain (life plus 70 years) - UK: public domain - USA: public domain (published before 1929) - Australia: public domain - Some MENA territories: confirm local term If the film uses an existing recording, the recording itself needs master use clearance. **Action needed:** - Confirm whether this is a live recording for the film or a licensed existing recording. - If live, the pianist and recording engineer own the recording rights. - If existing, identify the recording and clear it. - Verify public domain status in all target territories. **QAPE note:** If recorded in Australia with Australian pianist and engineer, the recording session counts toward QAPE. --- ### 2.3 Casta Diva — Maria Callas, Vincenzo Bellini, NORMA **Screenplay location:** line 2947 **Scene:** The General's mansion during the assassination sequence. Opera plays as assassins climb the escarpment. **Cue text:** > MUSIC OVER — CASTA DIVA. MARIA CALLAS. VINCENZO BELLINI. NORMA. **Type:** Non-diegetic or possibly diegetic if playing in the house **License needed:** - Sync license for the Bellini composition (public domain in most territories; died 1835) - Master use license for the Maria Callas recording (high complexity) **Complexity:** High for the recording; low for the composition **Why:** Maria Callas recordings are controlled by major classical labels (EMI, Warner, Deutsche Grammophon depending on era). Her estate and image are closely managed. This is a prestige recording that will be recognised by festival and European audiences. **Action needed:** - Identify which Callas recording is intended (there are multiple studio and live versions). - Contact EMI Classics / Warner Classics for master use. - If the recording is too expensive, consider a live recording by an Australian opera singer, which would be QAPE-eligible and avoid master use fees. **QAPE note:** A live Australian recording would strengthen the Australian spend case and avoid a major master use license. --- ### 2.4 Arab Rap **Screenplay location:** line 2602 **Scene:** Nicky's son wearing earphones, listening to Arab rap. **Cue text:** > Wearing earphones. Listening to ARAB RAP. **Type:** Diegetic **License needed:** - If a specific Arab rap track is named: sync and master use - If generic placeholder: no license needed until specific track chosen **Complexity:** Unknown **Why:** The screenplay does not name a specific track. This may be a placeholder for the music supervisor to fill. **Action needed:** - Confirm whether this is a placeholder or a specific track. - If placeholder, add to music supervisor brief: contemporary Arab rap that signals youth, rebellion, and diaspora identity. - If specific, clear early. **QAPE note:** If an Australian Arab rapper is commissioned, this is QAPE-eligible and culturally specific. --- ### 2.5 Techno music **Screenplay location:** lines 167, 217, 305 **Scene:** Billy's nightclub, the private room, and the crossfade to church organ. **Cue text:** > A TRANCE-LIKE TECHNO GROOVE. > > The TECHNO MUSIC crossfades into the HAUNTING SOUND of a CHURCH ORGAN. **Type:** Diegetic **License needed:** - If specific existing track: sync and master use - If original composition for the film: composer agreement only **Complexity:** Unknown **Why:** The screenplay describes a genre, not a track. The crossfade to church organ is a major editorial moment. **Action needed:** - Decide whether this is original score or licensed electronic music. - If original, brief composer for a trance-like techno groove that can crossfade seamlessly into church organ. - If licensed, brief music supervisor for underground electronic tracks with Australian or regional artist preference for QAPE. **QAPE note:** Original composition by Australian composer is QAPE. Licensed foreign track is not. --- ### 2.6 Church organ music, choral voices, Easter hymn **Screenplay location:** lines 217, 281, 315, 3230, 3305 **Scene:** First Communion at Saint Charbel, choristers rehearsing, Monsignor confrontation. **Cue text:** > Church music swells. Choral voices overtake the organ. > > CHURCH ORGAN MUSIC fades as we home in on... > > THE CHURCH ORGAN MUSIC CRESCENDOS. > > CHORISTERS REHEARSE AN EASTER HYMN. > > HYMN ENDS. **Type:** Diegetic **License needed:** - If original composition: composer agreement - If traditional hymn / liturgical music: public domain or church permission - If specific choral recording: master use and sync **Complexity:** Low to medium **Why:** Traditional liturgical music is often public domain or church-owned. However, a specific recording by a named choir may need clearance. Maronite liturgical tradition has specific musical identity. **Action needed:** - Confirm whether this is original score, traditional liturgical, or a specific recording. - If original, brief Australian composer with Maronite or Lebanese choral knowledge. - If traditional, confirm public domain status. - If specific recording, identify the choir and clear. - Consider recording with an Australian Lebanese church choir for authenticity and QAPE. **QAPE note:** Recording with Australian choir is QAPE-eligible and strengthens community authenticity. --- ### 2.7 Oud music **Screenplay location:** lines 23, 5259 **Scene:** Opening escape from Lebanon, and the final funeral scene. **Cue text:** > OUD MUSIC OVER — Muted ripple of gunfire. > > THE OUD PLAYS. **Type:** Non-diegetic or possibly diegetic **License needed:** - If original composition: composer agreement - If specific Oud performance or recording: sync and master use **Complexity:** Unknown **Why:** The Oud is the signature instrument of the Lebanon sequences. It is mentioned twice: opening and closing. **Action needed:** - Confirm whether this is original score or a specific Oud performance. - If original, brief composer with Oud knowledge. - If specific, identify the performer and recording. - Consider commissioning an Australian Lebanese Oud player for QAPE value and authenticity. **QAPE note:** Australian Lebanese Oud player is ideal QAPE: Australian spend, cultural specificity, on-screen value. --- ### 2.8 Reed pipe **Screenplay location:** line 3408 **Scene:** Wedding celebration in Lebanon village. **Cue text:** > An OLDER MAN plays the REED PIPE. **Type:** Diegetic **License needed:** - If traditional folk music: likely public domain - If specific composition: sync **Complexity:** Low **Why:** Village wedding reed pipe is likely traditional Lebanese folk music. **Action needed:** - Confirm whether this is a specific tune or generic folk. - If generic, no clearance needed. - If specific, identify and clear. **QAPE note:** Recording with Australian Lebanese musician is QAPE-eligible. --- ### 2.9 Classical music — radio in car **Screenplay location:** line 2929 **Scene:** The General's driver turns the radio to a classical music channel. **Cue text:** > The driver turns the radio to a CLASSICAL MUSIC channel as... **Type:** Diegetic **License needed:** - If specific track: sync and master use - If generic description: no license until track chosen **Complexity:** Unknown **Why:** The screenplay does not name a specific piece. **Action needed:** - Add to music supervisor brief: classical music for a Beirut car radio, possibly French or Italian opera, or Lebanese classical programming. - If a specific track is chosen later, clear it. **QAPE note:** If an Australian classical recording is used, QAPE applies. --- ### 2.10 European Cup Finals — television broadcast **Screenplay location:** line 4244 **Scene:** Billy's lounge, television showing the European Cup Finals. **Cue text:** > The EUROPEAN CUP FINALS playing out on television. **Type:** Diegetic (broadcast) **License needed:** - Sports broadcast rights are separate from music rights. - If the broadcast includes crowd noise, commentary, or broadcast music, those are additional layers. **Complexity:** High **Why:** UEFA and broadcasters control European Cup footage tightly. Even a background television showing a match requires broadcast rights clearance. **Action needed:** - Confirm whether this is stock footage, a recreation, or a background blur. - If stock footage, contact UEFA or the relevant broadcaster. - If recreation, avoid logos, team identification, and commentary to reduce clearance needs. - Consider replacing with generic sports broadcast to reduce cost and complexity. **QAPE note:** Not applicable. This is stock footage, not music. --- ### 2.11 Horse racing — television broadcast **Screenplay location:** line 3886 **Scene:** Joey in his car watching a horse race. **Cue text:** > Watching a horse race on a mobile device. **Type:** Diegetic (broadcast) **License needed:** - Sports broadcast rights if specific footage is used. **Complexity:** Medium **Why:** Horse racing footage may require broadcaster or racing authority clearance. **Action needed:** - Confirm whether this is specific footage or generic. - If generic, avoid identifying the race, track, or horses. **QAPE note:** Not applicable. --- ### 2.12 Richard Strauss — "Fünf Klavierstücke" (repeated) **Screenplay location:** lines 2781, 2799 **Note:** This is the same cue as 2.2, but it appears in two intercut locations. One clearance covers both uses. --- ## 3. Music cues that are likely original score (no licensing needed yet) These cues describe atmosphere, not specific existing music. They will be original composition unless the director or composer decides otherwise. | Cue | Scene | Status | |---|---|---| | Oud music opening | Byblos escape | Likely original score | | Church organ crossfade | Nightclub to church | Likely original score | | 92-piece orchestra | Lebanon escape | Ronny's creative vision, not yet scored | | Easter hymn rehearsal | Saint Charbel church | Could be original or traditional | | Oud at cemetery | Final funeral | Likely original score | **Action needed:** Brief composer for all of the above. Clarify which are original and which are licensed. --- ## 4. Summary table | Priority | Music | Type | License | Complexity | QAPE potential | |---:|---|---|---|---|---| | 1 | Fairuz — "Bhebbak Ya Lebnan" | Diegetic | Sync + master | High | Low if licensed master | | 2 | Maria Callas — "Casta Diva" | Non-diegetic / diegetic | Sync + master | High | High if live Australian recording | | 3 | Richard Strauss — "Fünf Klavierstücke" | Diegetic | Sync (PD) + master if existing | Medium | High if live Australian recording | | 4 | Arab Rap | Diegetic | Unknown | Unknown | High if Australian Arab artist | | 5 | Techno music | Diegetic | Unknown | Unknown | High if original Australian composer | | 6 | Church organ, choral, Easter hymn | Diegetic | Low if traditional | Low to medium | High if Australian choir | | 7 | Oud music | Non-diegetic | Unknown | Unknown | High if Australian Lebanese Oud player | | 8 | Reed pipe | Diegetic | Low if traditional | Low | High if Australian Lebanese musician | | 9 | Classical radio | Diegetic | Unknown | Unknown | Medium if Australian recording | | 10 | European Cup Finals | Broadcast | Sports rights | High | Not applicable | | 11 | Horse racing | Broadcast | Sports rights | Medium | Not applicable | ## 5. Key questions for the team ### Ask Ronny 1. Is "Bhebbak Ya Lebnan" by Fairuz the final choice, or a placeholder? 2. Is the 92-piece orchestra a real budget item with a composer, or a creative vision? 3. Which Callas "Casta Diva" recording do you have in mind? 4. Is the Arab rap track a placeholder or specific? ### Ask Nicholas 1. Do you want the score to be original composition, licensed, or a hybrid? 2. Should the church music be recorded with an Australian Lebanese choir for authenticity? 3. Do you have a composer preference? ### Ask Aya 1. Can MENA partners help with Fairuz or Arab music licensing? 2. Are there regional music co-production incentives? 3. Should we commission an Australian Lebanese composer for QAPE value? ### Ask Tracey 1. Do you know Australian music supervisors with Arab and classical licensing experience? 2. Can the music budget accommodate a high-profile Fairuz license? 3. What is realistic for an AUD 8.5M to AUD 12.5M budget? ### Ask production legal 1. What is the clearance timeline for Fairuz and Callas? 2. Are there MENA territory restrictions on any of these licenses? 3. Should we secure options now or wait until picture lock? ## 6. Budget implications | Item | Low estimate | High estimate | QAPE impact | |---|---|---|---| | Fairuz master + sync | AUD 30,000 | AUD 150,000+ | None | | Callas master + sync | AUD 20,000 | AUD 80,000+ | None if licensed | | Strauss live recording | AUD 5,000 | AUD 15,000 | Yes | | Arab rap license | AUD 5,000 | AUD 25,000 | Yes if Australian artist | | Techno original | AUD 10,000 | AUD 30,000 | Yes if Australian composer | | Church choir recording | AUD 3,000 | AUD 10,000 | Yes if Australian choir | | Oud original/recording | AUD 3,000 | AUD 10,000 | Yes if Australian musician | | Composer fee (overall) | AUD 50,000 | AUD 200,000 | Yes if Australian composer | **Total music budget range:** - Minimum: AUD 126,000 - Maximum: AUD 520,000+ - With heavy QAPE focus: AUD 80,000 to AUD 250,000 ## 7. Bottom line The screenplay contains **eleven music or broadcast cues** that require clearance attention. **Highest risk:** - Fairuz "Bhebbak Ya Lebnan" — iconic, expensive, emotionally central - Maria Callas "Casta Diva" — prestige recording, high master use cost **Highest QAPE opportunity:** - Live Australian recording of Strauss piano piece - Australian Lebanese Oud player - Australian Lebanese church choir - Australian Arab rapper for the youth earphone moment - Australian composer for original score and techno **Next action:** Confirm with Ronny and Nicholas which cues are final, which are placeholders, and whether the music budget has been allocated. Then brief a music supervisor with Arab and classical licensing experience.