# When did companies and gigs started finding YOU?



## Dracarys (Jan 14, 2015)

I realize that networking is usually perpetual to some extent in this business, unless if you're at the absolute top echelon and are extremely sought after. But when did the jobs begin finding you? Was it that one notorious gig that opened many doors in the industry? That one gig that allowed you to seek professional management, because you finally had a reputable clientele/portfolio that deemed you worthy?

I would love to hear some stories about when the excessive cover letters, resumes, and hunting became seldom, and didn't account for at least 50% of your music time.

Thanks!


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## José Herring (Jan 14, 2015)

I've never met anybody no matter how successful, that didn't spend time hustling his own work. Maybe Hans and JNH or Williams don't have to make calls any more. But that just doesn't happen to everybody.

Successful representation means that you have a rep that also has 10 or 100 more composers that are equally or more successful than you are. So if you're in an agency with Howard Shore, who do you think they're going to push first? It certainly isn't going to be Casalena, or José J. Herring or even Tyler Bates. They're going to push the biggest names first then work their way down the list as those guys either decline or have other projects. 

History is littered with composers who were once big who aren't getting calls. They blame it on many factors. The truth is, there's only one thing, they became unwilling at some point, to hustle that next gig.

With that bit of optimism. Good luck!


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## pkm (Jan 15, 2015)

Here's a bit of optimism for you! I truly don't say this to make myself sound good or to boast (I've definitely had some dry spells), but I applied for one job as an intern in 2010 and haven't had to look for work since. Work has always found me - every time. I'm really terrible at "hustling"/"networking". As necessary as it is, I always feel like a pushy phony when I ask people for work. I probably would have had a better 2014 if I tried harder to get more work, but already in 2015 I have 4 new projects, with a few more starting in the next couple months. I'm just about at the limit of how much work I can handle by myself.

Every single job I have had came from that one internship. Somehow I usually start by getting a call to help fix someone's computer, recommend sample libraries, teach programming techniques, set them up with a slave computer and VE Pro, etc., and then eventually I start writing music for or with them. 

Each person I help has recommended me to one or two other people, so luckily my "network" (I hate that word - *they're my friends, not a collection*) has grown organically and without me having to cold call, attend networking events, god forbid join LinkedIn, etc. My career has had its ups and downs, but the overall trajectory has been overwhelmingly "up" for 5 years straight. 

I don't have an agent currently, and I think that's my next step, but these new friends I've made over the years are truly looking out for me and have gotten me lots of work. I've been very, very, lucky and I couldn't be more appreciative. 

If you want to know more specifics, feel free to PM me. I try to avoid talking about myself too much on a public forum.

If you're starting out (I don't know where you are in your career), I'd just say this - never say no, never settle for mediocrity, always keep learning, be humble, admit when you're wrong or when you don't know (but find out immediately!), take every single job seriously, appreciate every opportunity, be easy going, and (perhaps most importantly) be good at what you do. If you're not just starting out, maybe change "never say no" to "know when to say no", and keep all the rest.


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## Stiltzkin (Jan 15, 2015)

As of yet I've never had to look for any, but I predict I will in the future. Not exactly a good example because I have gotten extremely lucky that my first film led to 4, potentially 5 more in the next year, and I'm very lucky to have gotten such an opportunity.

But the only reason I got them is because I built an incredibly healthy, hard-working relationship with the director/producer and he is a very social person - so my name got around his contacts pretty quick because of that.

So I'd say a good thing to do is to do your absolute best for any project, and be a nice person to work with - make it more than just music, it's about having a good time doing what you love


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## impressions (Jan 15, 2015)

I've had some good periods where people call me. most of like Stiltzkin said, because of how satisfied they were of my work that they recommended me. I admit that sometimes pressure and family takes the best of me and i can't get my best work done, and therefore i don't get any returned calls or recommendations as well(besides talent lacking if that counts). so you really have to make sure every music you do is done incredibly well, just like a calling card. because that will sell your name the best. I've learned that "abit" late.


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## TheWillardofOZ (Jan 15, 2015)

> ...you really have to make sure every music you do is done incredibly well, just like a calling card



+1

I'm still hustling for my next gig, but every once and a while I'll get a call from someone who was referred to me be a previous director/producer. My goal is always to put out the best possible product that I can, even for projects that I may not be as emotionally attached to. I think it's important to never "call in" a soundtrack. You never know who's listening!


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## Brobdingnagian (Jan 15, 2015)

pkm @ Thu Jan 15 said:


> ...never settle for mediocrity, always keep learning, be humble, admit when you're wrong or when you don't know (but find out immediately!), take every single job seriously, appreciate every opportunity, be easy going, and (perhaps most importantly) be good at what you do. If you're not just starting out, maybe change "never say no" to "know when to say no", and keep all the rest.



Incredibly wise words, regardless of where you are in the food chain. 

A tip of the hat to PKM. Not sure where to find that emoticon...

-B


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## JimJames (Jan 17, 2015)

Open to discussing agency-related questions. Please DM. Thanks!


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## José Herring (Jan 17, 2015)

TheWillardofOZ @ Thu Jan 15 said:


> > ...you really have to make sure every music you do is done incredibly well, just like a calling card
> 
> 
> 
> ...



You have to do it all the time, unless you get some smash big hit and reputation.

In truth about 1/2 the jobs I've done I got through recommendation, the other half from cold calling and emailing. 

But, I pretty much call and email all the time. The times that I don't not only do I not get any new work but I also don't get an work from people I've worked for.

It's like the universe knows when you're not trying. ~o)


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## Michael K. Bain (Jan 22, 2015)

When did companies and gigs find me? When they ran out of other poor suckers to send rejection letters to.


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## mbagalacomposer (Jan 22, 2015)

I don't think I'm ever going to completely have to stop looking for gigs but the more work I do the number of people who reach out to me wanting scores gets bigger. 

The most important part is being incredibly easy and cool to work with (as well as writing great music) so that the directors and editors and whoever else you're working with actually WANT to sing your praises to the other people they work with....then people start calling you.


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