# How do I take the next step??



## The Darris (Feb 21, 2014)

So, I am in a particular part of my life where I am very interested in interning or working as a composer's assistant. The main reason is that I have 2 years left of school before I finish my music degree and I would like to have some experience in how the industry works before I go off into the sunset with a degree and no idea how to use it (assuming I can't use it anyway). So this brings me to the overall question, how do I take this next step?

Personally, I have read a lot in this forum about getting work and Han's himself has chimed in on a quite a few threads by saying something along of the lines of 'do something new that people can't ignore." As I understand this concept, I am still working on developing my skills but part of that development is wanting to actually learn a little bit about the business so I can apply my strengths and focus on my weaknesses.

I would love to hear some success (and failure) stories from other composers who have worked as interns or assistants and the hoops you had to jump through to get them.

Also, if anyone has some links to good sites that provide information on internships or positions in the composition career field, please share.

Thanks for taking the time to read and share, much appreciated.

-Chris


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## RiffWraith (Feb 21, 2014)

Hi. I dont have any personal success and/or failure stories, but I have three thoughts:

1) I could be mistaken here, but composers generally dont care about your composing ability. They care about getting the ass. part of the job done. If you send them a demo reel with awesome music, they are still going to sit there and say, "yeah, but can he be a good ass.?" Of course there are composers who need someone to compose with them, which is why a good demo reel certainly wont hurt. But your first priority should be showing your ability to be a good ass. - not a good composer. Feel free to correct me if I am wrong there.

2) If you are still in school, won't that deter composers from hiring you? What if they are on a film, and need you 14 hrs/day six days/wk? How is that going to work?

3) Contact Jeff Rona. He from time to time posts about internships, and ass. jobs. He seems to be "in the know" when these types of gigs pop up. Contact him, and even if he doesnt know of anything currently, try and get him to keep your contact info, should something arise. I dont know Jeff personally, but he appears to be very approachable on this subject.

Good luck.


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## Daryl (Feb 21, 2014)

Chris, the first thing I have to say is Jeff is right. If you still have 2 years of school left, you can pretty much forget being an assistant. An assistant has to be available to assist, and you are clearly not. However, you could possible attach yourself to a composer, when you have time off, and make yourself useful. Obviously this would have to be somebody close to your school.

The next stage is to figure out what you can offer the composer. What skills do you have that can be of use? Once you know this, you can make enquiries and offer your services, in return for being allowed to hang around.

The thing to be careful about is thinking that you can use it as a stepping stone to getting composing work. How would that happen? Not only would the gigs you are assisting on be out of your league, but all the contacts are the composer's contacts, not yours. What it would do is allow you to see how things work in the real world, which may help you when you do get projects.

If you are lucky and happen to find a composer who is very generous with both time, knowledge and helping your career, look after them and treat them well, because we, er, they are few and far between. :wink: 

D


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## Daniel James (Feb 22, 2014)

RiffWraith @ Fri Feb 21 said:


> 1) I could be mistaken here, but composers generally dont care about your composing ability. They care about getting the ass.



Hahahaha I lost it there.

-DJ


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## Resoded (Feb 22, 2014)

RiffWraith @ 21st February 2014 said:


> 1) I could be mistaken here, but composers generally dont care about your composing ability. They care about getting the ass. part of the job done. If you send them a demo reel with awesome music, they are still going to sit there and say, "yeah, but can he be a good ass.?"



So quality ass trumps everything else basically.


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## The Darris (Feb 22, 2014)

Thanks for the feedback so far. I would like to be clear about my schedule. I will have the summer off which means I am able to work for 3 months. In that time I would love to study with a composer, work for them, do whatever in order to get some insight on this industry. So let me ask another question.

Does anybody have any insight on paid internships?


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## RiffWraith (Feb 22, 2014)

Daniel James @ Sat Feb 22 said:


> RiffWraith @ Fri Feb 21 said:
> 
> 
> > 1) I could be mistaken here, but composers generally dont care about your composing ability. They care about getting the ass.
> ...





Resoded @ Sat Feb 22 said:


> RiffWraith @ 21st February 2014 said:
> 
> 
> > 1) I could be mistaken here, but composers generally dont care about your composing ability. They care about getting the ass. part of the job done. If you send them a demo reel with awesome music, they are still going to sit there and say, "yeah, but can he be a good ass.?"
> ...



Ok, listen up, 3rd grade class....


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## Ned Bouhalassa (Feb 22, 2014)

I say, forget about being anyone's assistant, and write for library-music companies. Get feedback, makes adjustments, write, write and write some more, until you have 100 pieces. Send out your music, follow up on leads, and keep writing.

The industry is changing at lightning speed these days, so the best thing to do to learn how to survive is to be doing stuff now instead of seeing the scene through a veteran's eyes.


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## peksi (Feb 22, 2014)

my 5 cents: if not done already, put some effort to locating your strengths and weaknesses so you know where to head with your career. it can be very challenging (took me 20 years) but you can find it with help from experienced composers or producers.


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## G.E. (Feb 22, 2014)

> They care about getting the ass.


I apologize for my immaturity but that sounded so wrong...Very,very wrong. :lol:

Chris I wish you good luck, because internships can be so hit or miss.Hope you find a generous composer from whom you can learn more than how to make a great coffee.


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## The Darris (Feb 22, 2014)

Ned Bouhalassa @ Sat Feb 22 said:


> I say, forget about being anyone's assistant, and write for library-music companies.



This is an interested assertion. I have heard from many other composers (via blogs, interviews, etc) that the library music jobs are going away because of how many people are writing for them. This also leads down the path of learning how to write a 'good' mock-up versus actually good music. I don't want to sound like the other thousands of composers all writing the same library trailer stuff, I am trying to develop my own sound which it extremely important to me. So writing library music is not really a path I want to get into.


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## Ned Bouhalassa (Feb 22, 2014)

I did not mention trailers, and if I had, I would have suggested to stay away, for the reasons you mentioned. I'm thinking about underscore, action, drama, triumph, comedy, etc. Libraries are not only about trailers. Having your own sound will make your music standout from the rest, and will get you into more libraries. If you wonder why I'm insisting on this approach, it's because I've seen the writing on the wall, and it's libraries for all but feature films and indies.


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## AlexandreSafi (Feb 22, 2014)

This is a great question!

I'd say if composing and getting your own sound is simply your greatest impulse, as it seems you have described, then make it so...

Which means, WRITE, WRITE, WRITE, and then guess what... Write some more...

I really don't know about the reality of it all, but if i remember well according to this great interview: (~12-13 min mark)
http://www.youtube.com/watch?v=kc2ULuC--xw

Hans Zimmer had an absolute gratitude worth recollecting towards his mentor, Stanley Myers, for letting him write and fail, and fail, and get better at it...

Now, certainly you'd want to find someone like that, and if I get Hans's hearfelt commentary, this seems to be a rare thing in the business, but until then, practice your HOURS!!!

Good luck, my friend! 
Alex


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## The Darris (Feb 23, 2014)

AlexandreSafi @ Sat Feb 22 said:


> This is a great question!
> 
> I'd say if composing and getting your own sound is simply your greatest impulse, as it seems you have described, then make it so...
> 
> ...



Thanks Alex. I will always continue to write no matter what. I feel the hours are important and I also feel that working with another composer is important too. I would love to be a protege of a successful composer but it is obviously not an easy task to meet those individuals and build up a report with them. I guess all I can do is continue to write and hope that I stumble onto something that nobody can ignore. Thanks for the response!!


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