Paramount Studios President Randy Spendlove Overcomes Music Rights Challenges

• Randy Spendlove produced musical biopics like 'Bohemian Rhapsody' and 'Rocketman.'

• Challenges in capturing Bob Marley's essence for the biopic.

• Negotiating music rights with Marley's family and music companies.

Randy Roedema and Jason Rosenblatt.

AP

Randy Spendlove, president of worldwide music and publishing at Paramount Studios, has a rich history of producing musical biopics, including hits like 'Bohemian Rhapsody,' 'Rocketman,' and 'Walk the Line.' When the opportunity arose to bring the story of reggae legend Bob Marley to the big screen, Spendlove faced the familiar challenge of capturing the essence of a legendary figure.

Early discussions for the Bob Marley biopic involved virtual meetings with Marley's sons Ziggy and Stephen, as well as director Reinaldo Marcus Green. The team's approach focused on preserving Marley's live recordings and enhancing them by layering actor Kingsley Ben-Adir's vocals into the mix.

However, the project hit a hurdle when it came to clearing the music rights. Marley's family, along with Primary Wave Music Publishing and other companies, held stakes in the singer's music catalog. Negotiating the rights from multiple entities required meticulous coordination and timing.

The film's narrative begins after Marley's Smile Jamaica concert and an assassination attempt in 1976, following his journey to London to record the 'Exodus' album and his return to Jamaica for the One Love Peace Concert.

Selecting the soundtrack for the film presented another challenge due to Marley's extensive discography. Hits like 'I Shot the Sheriff,' 'No Woman, No Cry,' and 'Redemption Song' made the cut, but narrowing down the song choices was a complex process that involved aligning the music with key moments in Marley's life.

Recreating Marley's live performances for the film required re-recording tracks with a blend of original recordings and actor Kingsley Ben-Adir's vocals. Ben-Adir dedicated himself to capturing Marley's voice and mannerisms, working closely with vocal and guitar coaches to ensure authenticity.

The production team, with the involvement of Ziggy and Stephen Marley, re-recorded 40 songs to match the live recordings and enhance the sound quality for the film. The collaborative effort aimed to bring a theater-like experience to the music, with Ziggy and Stephen contributing their musical talents to the project.

Despite recording 40 tracks, only 22 made it to the final soundtrack. Ziggy Marley expressed a personal attachment to 'Ambush In The Night,' a song that resonated with the film's storyline but did not make the cut.