Check www.fmsmf.org/unclaimed-residuals to see if you have unclaimed residuals

Musicians often occupy a paradoxical space in film and television: their work can be heard by millions. Yet, the notoriety from those performances generally is directed elsewhere, and the financial rewards can be difficult to track over time.

My generation grew up on the music of John Williams, Alan Silvestri, Hans Zimmer, and so many more. Their scores and the performances of the musicians who brought them to life were imprinted on a generation. AFM musicians contributed to shaping our relationship with that bit of whimsy that makes film so profound, creating emotional connections that last a lifetime. You, the musicians, are why we feel that daring sense of adventure as we are welcomed into Jurassic Park, or hopeful when we watch a feather floating in the wind past Forrest Gump.

Since 1972, the Film Musicians Secondary Markets Fund (FMSMF) has quietly supported thousands of musicians and continues to adapt as the industry transforms. The Fund is a nonprofit organization established through collective bargaining specifically to collect and distribute residual payments to musicians whose performances appear in films and television programs that have been released to a secondary market after the initial exhibition. Additionally, the Fund is charged with providing access to education and resources for producers, musicians, and their beneficiaries, to provide insight and support regarding the residual terms of the applicable collective bargaining agreements.

How FMSMF Works Behind the Scenes

At its core, the Film Musicians Secondary Markets Fund functions like a nonprofit payroll and residual administrator.

Here’s a simplified snapshot of how it works:

• Earning eligibility: Musicians must have worked under an AFM signatory agreement on a film or television show, covering everything from scoring sessions and music prep to sideline performances captured on camera.
• Secondary market triggers: After an initial theatrical or broadcast release, when a film or show generates revenue from secondary uses (streaming, DVD, etc.), producers make quarterly contributions to the Fund.
• Annual distribution: Residuals collected during the previous fiscal year (April 1 – March 31) are allocated and paid out each July to musicians and beneficiaries.

This system ensures that musicians continue to earn income long after their recording sessions, often decades into the life of a title—especially as streaming now extends the lifecycle of content.

Evolution Over the Decades

Since its inception, the Fund has continuously adapted to reflect changes in how film and television content is produced, distributed, and monetized:

• Early years: In the 1970s and 1980s, secondary markets were largely limited to pay television and broadcast syndication. While residual amounts were often modest, they played an important role in providing ongoing compensation to musicians beyond their initial recording sessions.
• Industry shifts: As home video, cable licensing, and later digital distribution became central to the entertainment economy in the late 2000s and early 2010s, the Fund’s role evolved to account for a broader and more complex set of revenue streams. Streaming, in particular, introduced new terms that reshaped how secondary market contributions were calculated and administered.
• Operational maturity: By the late 2010s, the Fund achieved a level of operational scale that permitted targeted investment in internal systems, data accuracy, and services for musicians and beneficiaries. These efforts strengthened the Fund’s ability to manage increasingly complex reporting environments and positioned it to navigate future market fluctuations while continuing to fulfill its core mission.

This history of adaptation underscores the Fund’s ability to evolve in step with the industry, positioning it to continue serving producers and musicians effectively as distribution models and market realities continue to change.

Looking Forward

In an era where streaming has upended traditional distribution models, institutional frameworks like the Film Musicians Secondary Markets Fund have become more vital than ever. Residuals can be life-changing for musicians who may not always be in the financial spotlight but whose work underpins some of Hollywood’s most iconic moments.

The Film Musicians Secondary Markets Fund plays a quietly powerful role in the production music community. From its origins in 1972 to its modern operations, the Fund has stood as an enduring mechanism for recognizing the value of musicians’ work beyond the initial performance—ensuring that every time a film plays on TV, streams online, or spins on home “video”, the musicians behind the music get their share.

Roxanne Castillo is the Chief Administrative Officer and Executive Counsel for the Film Musicians Secondary Markets Fund

GETTING PAID

To make sure your information is current for any upcoming distributions, please login to your account at https://www.fmsmf.org/login/

You may also reach our Participant Services team at 888-443-6763.

BONUS TIP FROM LOCAL 802: Check https://www.fmsmf.org/unclaimed-residuals/ to see if you have unclaimed residuals. For a complete list of unclaimed checks from a variety of sources, see www.local802afm.org/unclaimed-checks