Question for directors RE: music

[aml4]

Where do you go when looking for a composer to write an original score for you film? Or do you usually use pre-existing music? As a composer I sometimes find hard to connect with directors who need music so I'm curious what your thoughts are on the subject. Thanks, -s

http://www.steve-lemaire.com/Music.html

 

[MadMonkFish]

It's really a mixed bag - some Directors have long standing relationships with composers and others go with different musicians depending on the needs for scores... sometimes a Composer will be 'preferred' by a Producer or Company (it's all linked to how far up the chain you are - and how much cash/budget is involved etc).

Speaking personally, I often cut to temp tracks (existing music) but from the composer I'm working with. This is simply because we've worked together for a long time (9 years) and have a good creative short-hand. He'll often send me audio 'sketches' that I'll play with & edit around the visuals - this then goes back for a re-score & correct orchestration, but he trusts my audio editing & I trust his musical skills. I actually enjoy editing and post, it's were a lot of the magic happens, so this process works for me. I'll often be considering the audio tone/thematic direction of the music at an early stage (during concept/storyboards)... I know that's more of a personal thing (its useful to send previz/animatics over as a guide to the visual style), but again, this is based on a long standing Composer/Director relationship.

Getting your work out there is always a challenge, but forums like this provide a great resource & connection point that simply wasn't there 10 years ago - now, you can have a platform for your music & showcase yourself.

Much as they can be a pain, agents are useful in terms of the connections they have (big agencies on the media side will have a range of creatives on their books) so it's often a case of XXX is doing a project, he's new in town & needs some stuff etc. It's all really about contacts & this is why I mentioned the web/forums earlier on - self promotion can get you places, just don't do too many jobs for free/low rates.

But, a good move posting here, as there's a mixed range of newbies right up to seasoned pros & everyone's here becuase they enjoy film making & the creative/technical process.

Hope that helped. Nice work on your site BTW (and you're networking locally, which is the best step).

 

[Melvin Harris]

Where do you go when looking for a composer to write an original score for you film? Or do you usually use pre-existing music? As a composer I sometimes find hard to connect with directors who need music so I'm curious what your thoughts are on the subject. Thanks, -s

http://www.steve-lemaire.com/Music.html

I go where I can afford. I am a musician so I tend to score my own stuff. If I have need of a composer, I typically contact people I know, but that is influenced by money. If I could justify the cost, I would shop around.

To many directors, the composer is that last person they think about. They are usually singularly focused on the visuals. Also, it has been my experience that many composers already use sound packs or midi instruments, so if a producer or director can get the same type of sound quickly and cheaply, they may circumvent the composer in favor of pre-existing music.

Then there are the guys who want you to compose like Zimmer, Newton Howard, Hemsey, or McCreary for $5.00, a wink and a nod... avoid them.

If you want to connect with projects that need original scores, I would look for things that are either further along in the pre pro phase or just coming out of production while networking across the spectrum. Too early, you get a lot of promises and pipe dreams; too late, you just don't get on. Also, I would diversify. A lot of the tracks on your site are atmospheric and airy and play towards a type. I would say broaden and do some out of the box stuff to stand apart from the other guys out there doing similar scores for similar project types. Differentiation is the best way to rise above the pack. Trust me, I didn't when I had the chance, but now I have and people are liking the ideas, but I don't do that thing any more, I do this thing.