The Defining Moments in Anton Trailer's Career in Sound
With over two decades of experience in the world of music supervision, Anton Trailer has worked on some of the industry’s most impactful projects.
From founding Trailer Media in 2001 to curating soundtracks for major film and advertising campaigns, his career is marked by innovation and creativity.
In this exclusive list, Anton looks back at 10 defining pieces of work that have made him the sound designer he is today. From high-profile collaborations with global artists to curating music for events like the NRL Grand Final, these projects reflect his unique ability to fuse music with storytelling.
1. Johnnie Walker ‘Anthem’ - Run DMC and Aerosmith, Lou Reed and Loretta Lynn, Mash-Up
This is certainly one of the bigger budget campaigns I’ve worked on for a commercial. In saying that, the brief was to mix/mash-up some of the most iconic tracks for a global licence for an alcohol brand. So I guess I needed it! Run DMC and Aerosmith’s “Walk this Way", Loretta Lynn’s version of “These Boots Are Made for Walking", and Lou Reed’s 1970s classic “Walk on the Wild Side" were chosen after lengthy debates and then mixed. As Sony Music’s head said at the time, it was one of the “biggest spots of the last decade and a first for a number of reasons”. Twelve insane months during Covid and liaising across various continents. Proper once in a lifetime job.
2. Virgin Mobile '5 Cent' - Bespoke Composition
My first foray into the Aussie market was around 2005, with what’s one of the most celebrated Australian creative agencies and most influential and formidable creatives. The Glue Society brought me in, with Matty Burton and Dave Bowman steering the creative for a bespoke rap we wrote in London with a UK producer and US rapper that would certainly be controversial today, but won plaudits back then and a Titanium Lion. Iconic in its own way.
3. NRMA ‘Runaway’ - Leo Brouwer "Paesaje Cuban Con Rumba"
Seeing Steve Rogers, Micah, and team BMEOF creating something that needed such a niche music track was so exciting for me compared with the often predictable search and licence criteria. Working alongside Rumble, I was me in full ‘blood-hound’ mode; tracking down an illusive Cuban writer without proper comms and a tiny Italian label who'd recently acquired the master. Both knew nothing of NRMA or what a sync licence was. I think we’re all still invited to Florence for "the best steaks in the world"! Musically, this was marriage and insight from the agency and director. I was just a cog in the wheel really. A treat to see this kind of track get up alongside such a big brand.
4. Qantas ‘Paris 2024 Olympics & Paralympics’ - Tones & I “I Made It"
An iconic Aussie brand and challenging project that needed a specific piece of music. Plenty of ideas came and went, as they often do on big campaigns. The fact that we not only got over the line one of the world's biggest artists, who happens to be Australian, but also seeing the creative team’s urge to put something new up for Qantas was very exciting. Howatson+Co and the direction here had all the right ingredients and it complimented the music perfectly. It’s always pleasing when the pieces of the puzzle align. We got an ARIA nomination to-boot.
5. Menulog ‘Dolla Deals’ - Wu-Tang “D.R.E.A.M.” + All Hip Hop Licences for TV Commercials
Most supervisor mates hate it, but I love a hip hop licence. Not just because it’s the trickiest, with its multi-writer licence and sample challenges but because it’s up there as one of my favourite genres. Having licensed Kanye several times now, Digital Underground for IAG, Nappy Roots for Franklin Water etc, I can’t get enough! There is one recent campaign that sticks out, as the licence also included negotiating with various Wu-Tang members and managers to have Inspectah Deck feature in the spot, who we had for a five hour window before he went on stage. It was touch and go for a while, but thanks to Sesh, the Thinkerbell crew, and Heckler on production, we got both music and the shoot over the line. An iconic hip hop track that I believe hadn't had a sync in Australia before this.
6. Dipped In Black / Marungka Tjalantjunu - Tina Turner "Nutbush City Limits"
An introduction from a good friend to director Matthew Thorne, on what became an award-winning short film, was a great opportunity to show off my doggedness. It was essentially to licence just one known song but we had little money and needed the rights and also the footage from one of biggest artists in the world in Tina Turner with "Nutbush City Limits". The plight and nature of the film and the significance of the music and how important it was for the film made the pressure even more salient. Derick Lynch starred and directed with Matthew, and it went on to win numerous awards in Australia and overseas. So worth all the delving and negotiation.
7. 'Rush' Film Trailer - "Ecstatic Landscape” from Must Save Jane
Over the seven years owning and running Must Save Jane, a company created predominately to produce movie trailer music, this was arguably one of my favourite placements. And weird that Chris Hemsworth now lives up the road! At the time, we were establishing mainly UK, European and Australian composers into the LA movie trailer market. Succeeding here with this new ethereal sound, which was different to the big back end Hans Zimmer style cues. The album this was taken from was a point at which things really started to take off for us and the writers who rode with us. Must Save Jane later became, with its big brother Altitude, BMG Production Music.
8. UNICEF ‘Climate Change’ - Radiohead “No Surprises”
For a client such as UNICEF, you always want to do your best. The music they wanted for the film proved one of those rare challenges. I often berate those who stick a Radiohead track on in an edit to win a pitch or impress a client, as I know Thom Yorke and the band don’t do commercials. But with the knowledge that they'd approved charity projects in the past, we factored this in, and the music was perfect for us. Fortunately, this became the first Radiohead licence in the ANZ territory with their track “No Surprises”.
9. Hyundai Sante Fe ‘Peace At Last’ - Enya “Orinoco Flow”
Lots of songs get denied for use in TV commercials, with many writers selective about where their music gets placed. This one had never been licensed in Australia before, so it was pleasing we got clearance for its use, in a car spot of all things. More pleasing was when one of the writers, Ryan (alongside Enya), contacted the agency to give his thanks and acknowledgement for the track choice. And kindly, Ryan noted how well the director Michael Spiccia had used the music: "What you managed to do in a minute is truly fantastic”. It’s super rare and so awesome to see such appreciation on this level from writers of such a powerful and unique piece of music.
10. NRL Season Launch Campaigns + Grand Final Programming
I spent a couple of years working directly with the NRL on its season launch campaigns. Working directly with a brand as a music supervisor was an eye opener in a good way; I loved the direct relations and the speed in decision making. It definitely helped pave the way that I’d worked alongside Bob McIntosh at R/GA on the previous year's. With his insane music knowledge and ECD skills, we sold in and pulled off some great music angles, from Peking Duk to Camo and Krooked. The NRL also gave me the opportunity to supervise and oversee the half time show at the Grand Final. We locked in The Weeknd, who was great, but then the following year, Covid hit and things changed. But a great initiation into another area of music use.
11. 42 Below ‘Rainbow’ Fourtet “And The Patterns”
Back with Glue; they wanted something that sounded like Four Tet “And Then Patterns” for a low budget campaign.
My reply was why don't I just ask Four Tet. I knew the label and publisher, so it wouldn't hurt.
It tuned out that with ‘Rainbow’ and three other films we could package a deal. They came on board because the creative was so good. The music industry is actually really small, so when opportunities arise like this the work is good at twisting arms back in the ‘wild west’ of London or NYC. This film went on to win numerous awards and still one of my favourite uses of music to picture.
