During a discussion in one of our Sync Sessions classes on best practices in music pitching, responding to briefs, requests and how to follow up with music supervisors, I thought about how getting pitches can be like getting leads as a salesperson.

And that made me think about the 1992 David Mamet film Glengarry Glen Ross. If you haven’t seen it, it’s basically a bunch of salesmen in a boiler room type office jockeying for the best sales leads, with one of the highlights being Alex Baldwin’s classic “Always Be Closing” monologue which for the purposes of sync, I’ve adapted to “Always Be Pitching.”


For musicians and rights holders pitching their tracks for film, TV, ads, games, trailers, and more, the Always Be Pitching ethos can be a powerful guide and inspiration.

With that said, unlike the motley crew of salesmen in Glengarry Glen Ross, musicians and the people that work with music don’t have the luxury of berating music supervisors, coordinators, sync agents and creative directors into submission to get them to license their music.

So what do you do?  Well, at the end of the day, pitching music for media is a more nuanced art form than closing some swampland real estate leads in a boiler room.

Pitching music the right way, the successful way, requires creativity, research, persistence, and most important, relationship-building.

Now, let’s unpack how we can adapt some of the elements of the ethos from “Always Be Closing” to how you can “Always Be Pitching” as successfully as possible.

1. Deals are for Closers: Do Your Homework

Just as Baldwin’s character demands commitment, pitching your music starts with preparation. Before sending out your track, ask yourself:

  • Does Your Submission Fit The Mission? Research the tone, style, and themes of the production you’re targeting. For instance, a moody indie drama might call for introspective tracks, while an ad for a high-energy product may need an upbeat, infectious hook. Knowing what people are doing and what projects need with help you greatly over time in getting more pitching opportunities.
  • Who is the decider? Identify the music supervisor, creative director, or brand executive responsible for choosing music. Tailor your pitch to their preferences, their work and the particular project’s vibe you’re pitching to.
  • If The Song Doesn’t Fit, Thank Don’t Submit. Simple as that.  If you get a brief asking for Italian swing songs, and all you have is Italian Disco, don’t cross your fingers and click send.  It’s not going to work out. You’ll be far more successful by only presenting music when you have music that aligns with what is being requested.  It sounds simple, but I see so many people make this tragic mistake rather than wait for a better opportunity, and it’s one of the surest ways to get off a list of trusted sources.

Knowing your audience and understanding their needs can make the difference between a polite rejection, being ignored or hetting a sync. Remember, pitching music isn’t about what you want to sell; it’s about what they need for their projects.

2. ABC: Always Be Clear and Concise

In Glengarry Glen Ross, Baldwin emphasizes being direct and aggressive. And while you should never be aggressive in your pitch, clarity and personalization is essential.

  • Lead with impact. Start your email with an honest, personalized and accurate approbation of the person you are writing to about their projects and their work Just a quick paragraph works.
  • Provide easy, quick and accurate access to your music. Include streaming and download links to MP3s, that contain clear metadata and accurate ownership information with your email and phone numnber. Decision-makers don’t have time to dig through folders or chase rights information. In fact, many just move on to the next person’s music if it looks like your music rights are going to take too long to figure out.

A professional, polished pitch saves the recipient time and shows respect of their process—and that respect can go a long way.

3. AIDA: Attention, Interest, Decision, Action

The AIDA formula from the film applies perfectly to music pitching:

  • Attention: Capture the listener’s interest with a personalized, focused letter and a standout track that aligns with their projcects and their work. If the intro doesn’t grab them in 5-10 seconds, they may not listen further.
  • Interest: Tailor your message to highlight how your track aligns with their project’s vision.
  • Decision: Include licensing terms upfront. Let them know if the music is onestop or easy clear and that you can negotiate and clear rights quickly.
  • Action: End with a clear call to action. Let them know that you are ready to assist them with their projcet, to provide additional materials like stems, insturmental, edit or more, similar music if needed.

By breaking down your pitches and responses into these steps, you can guide the recipient through the process without overwhelming them.

4. Build Relationships, Not Just Pitches

The high-pressure environment of Glengarry Glen Ross thrives on quick wins and hard sells. In contrast, success in music licensing depends on long-term relationships. Work to build trust with music supervisors, ad agencies, and brand executives by being professional, reliable, and easy to work with.

  • Network intentionally. Attend events, online listening sessions, and music industry meetups to connect with potential collaborators.
  • Be persistent without being pushy. Follow up on your pitches, but respect their timelines and boundaries, and never remind them that you sent them a letter X weeks ago or that they havent listening to your music yet… again respect timelines and boundries.

When you’re seen as a partner rather than just another salesperson, your pitches will carry more weight, people will want to work with you, you’ll build your network of industry relationships that will help you to Always Be Pitching as successfully as possible.