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Posted: |
May 8, 2022 - 3:32 AM
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By: |
Alex442
(Member)
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Bill Conti once said in a lecture to get a job, ANY job, where you're near film makers.
Get to know them.
When they're making a film, let them know you've written something that would be good for their film and "could I show it to you now?"
If they say, "No,"
reply "Oh, okay."
Keep doing it over, and over and over, with the same people.
Spot on David, noted. That sounds like a very practical approach. Would you say tweeting people is a good approach too? Seems like a very direct way to approach some historically more unnaproachable people
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Posted: |
May 8, 2022 - 4:06 AM
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By: |
Alex442
(Member)
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Thirty years ago I would have suggested saving the amount of money needed to buy, say, a new Honda Civic and make an orchestral demo in London, LA, Salt Lake City, or NY, highlighting your ability to write suspense, romance, orchestral main title (a fifteen-minute “look what I can do with 80 players” sampler). I know several people who did this, gaining some career traction when an established composer heard his/her demo, made some calls on her/his behalf, often times securing for the hopeful composer orchestration work or even a cue writing “tryout” on some long-running drama series (such as “Barnaby Jones”). Alas, that was then…
Today
I'd recommend taking a page from James Horner's "book." He decided early on he wasn't going to be stuck writing incidental music for TV series twenty-four weeks a season, ironically, during a period (early 1980s) where series TV/mini series music was often of exceptional quality (composed by such talents as, among others, David Rose, Bruce Broughton, Billy Goldenberg, and Fred Karlin). So, deciding that composing weekly scores for episodic TV wasn't for him, Horner instead sought out 'B' films to score: The Lady in Red, Humanoids from the Deep, Deadly Blessing (and, interestingly, even a couple of TV movies). While this didn't do very much to raise his visibility in the industry it DID provide him with three very valuable things: a) musical material to use in procuring subsequent film work, b) opportunities to network with up and comers in the business, people, such as Jim Cameron and Ron Howard, who would eventually hire him for their major projects, and, perhaps most importantly, (c) experience with scoring film. Admittedly, Horner's "meteoric rise" was exceptional (though he seemed to be a natural). But it was the experience scoring low budget films that helped open to the door to his scoring his first studio features (The Hand, Wolfen, Battle Beyond The Stars) and, ultimately, a film resume that would include: horror, thriller, action, adventure, fantasy, historical drama, contemporary drama, coming-of age, dark fantasy, sci-fi and animation (can't recall if he did a romantic comedy, but likely he scored this genre as well).
Short answer, if I was starting out today, I would likely follow Horner's example. If I got series TV work , I'd do it for no more than five years (that is, unless you savor the idea of writing hours and hours of largely interchangeable, nondistinctive cues, more the rule than the exception for contemporary series drama), scoring whatever low budget independent films I could between seasons (and not try to juggle both during the TV season). Also, since everyone has all the same effects samples in their "tool kit," create some of your own, recording some sounds found in the home (such as striking the side of a shallow cooking pan with some sort of utensil), using a program such as UVI Falcon to manipulate and “sculpt” your sounds. Since this is a people business, talk to people, tell them what you do: I'm a film music composer (even if all you've done is one or two small student projects or have only scored a few practice scenes in your studio).
Video game scoring: Not quite the same as working with film but, in the end, you have new material (to put on your Soundcloud page), contacts (potential for future work), and, money to put in the bank (for buying better quality samples, updating one’s work space, etc.) Also, be aware that these are buyout deals (so probably no residuals forthcoming).
Lastly, only offer to work for free...once ('cause your time and talent is worth something).
Hope this helps in some way, Alex. I wish you success with your endeavor.
William
I can't tell you how much I appreciate and value the efforts you've gone to here William. This is exactly why I posted on here, as I'd hoped for advice that could possibly save me from bad decisions, getting stuck in a rut, or making dangerous assumptions than could steer me off course. Right now the idea of working in any capacity in this industry seems like a dream scenario, but that's only in relation to how bored I am with my current path. This could quite easily lead me to jump at any oppurtunity and seek security and stability over taking risks or a 'less trodden' path. I much prefer the idea of scoring smalling, independent films than I do writing monotonous lines every day. Films are really my passion so...
I may still get a Honda Civic though 
Thanks for the advice regarding recording my own sounds. I hadn't thought of that. Suppose I just need a good quality hand held recorder right?
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Posted: |
May 8, 2022 - 4:08 AM
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By: |
Alex442
(Member)
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Hi there, I'm starting an MA in Musical composition for Film, TV and Games this year and would really appreciate any advice regarding how to get ahead in the industry, what to look out for, how to market myself, work experience, that kind of thing. I don't want to leave anything to chance. Thanks guys
Hey Alex, which university are you going to or what region of the United States will you be?
Hey there, I'm actually based in the UK, unfortunately, as I'd much rather be over there for work in this industry. I'll taking my masters at Chichester University, starting in September. I'm so stoked
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Hey there, I'm actually based in the UK, unfortunately, as I'd much rather be over there for work in this industry. I'll taking my masters at Chichester University, starting in September. I'm so stoked
That still works - similar to the advice about James Horner, you can look to the larger film schools in the UK like the National Film and Television School and London Film School as places to advertise/network for working on Masters/Graduate level thesis films.
Also, the UK has way better-funded and subsidized arts resources than in the United States so you can connect with the British Film Institute and British Council to network with independent / up-and-coming filmmakers and groups for opportunities as well.
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Would you say tweeting people is a good approach too? Seems like a very direct way to approach some historically more unnaproachable people
Tweeting people to lunch? 
I'd think about it this way: would I be more likely to respond to someone who is putting things on my Twitter feed, versus someone who I talk to in person?
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