# Where do I begin?



## MacQ (May 12, 2008)

Oh goodness ... here goes ...

I'm a producer/song-writer/remixer/composer/programmer/engineer/keyboardist/music entrepreneur/etc, etc. from Calgary, Canada.

I have a bunch of remix credits for a variety of labels (both major and minor, and some diminished /\~O), and I've done music work for commercials, corporate events, stage shows, and a few other odd gigs. Client: "I need the sound of a baby-factory!" Me: "Uh ... what?"

My aspiration is (like so many) to get into scoring to picture, since that's what I spend most of my spare time pretending to do. Hopefully people read this introductions forum, and can give me some solid nostalgia-laden advice. I know that to do what I want to do, I have to actually *do* it. So I'm wondering where the best place is to start. Should I go after these listings for student films? Should I ingratiate myself to someone who's already successfully doing it (in some sort of coffee-boy fashion), or should I abandon all hope and just teach for the rest of my life? The sad reality is, I can't even join any guilds since I have ZERO (0.00) film/TV credits to my name, and commercials apparently don't count.

I'm 26 now, and as I say, I've had significant experience on the "other" side of the music industry, but I want to defect to the side that still makes at least *some* money. So where should I land my MiG? At this point I'm really just interested in getting credits.

Many of you have traveled this path, perhaps at a different time in history where film and TV gigs were plentiful and well-paid, but I know what I'm capable of and I know where I want to go. I just need maybe a few tokens of business advice, I suppose.

So, humbly, I ask for your advice!

You can hear examples of some of the music I've done at my website [HERE]. I'm in the process of putting together one of those "composer" websites, but hey, I have no film credits, so how useful is that? Haha.

Thanks guys,

~Stu MacQuarrie


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## José Herring (May 12, 2008)

I agree with Fo.

I would add though that I think a realistic assessment of where you're at would be in order to. Quite honestly film is very, very competitive. Looking at the field you'll have to asses where you can fit in. Then you have to look realistically at the kinds of music that's being used today.

Your first time out nobody is going to be throwing you $500,000 to record your music with full orchestra in all it's glory. So, I wouldn't even try to mock it up with samples, because 1) It doesn't sound that good in comparison to what JW, JNH and Hans, and Debney are doing with real orchestras and b) That kind of score is reserved for those who could actually afford it and producers and studios who can afford real orchestras aren't really going to be looking at new composers, unless said new composer is associated with a known composer and has done a significant amount of "undercover work" for and with known composers.

But all is not lost. There is a significant amount of non-orchestral work. What' cool about it is that you seem to shine in these styles. The trick for you would be to learn to adapt that style to film.

Just under the studio level there's a decent indie level and if you so happen to hit one of these "Juno" type films that makes a splash you'll be way ahead of 99.999% of the pack towards the bigger work.

All the while you're doing your non-orchestral work, do as Folmann says and really start beefing up your understanding of the orchestra. At some point in your career you'll be called upon to use real instruments. Sometimes producers just want it. Even on low budgets. The latter can be a challenge. Because it means that you won't be able to keep any of your music budget. 

But these days what's working for me anyway is to focus on the non-orchestral work. And, this is no easy feat for me, being that I'm really a classically trained orchestra composer. But let's face it. The bulk of the lower to mid budget work is sound design with a few melodic over dubs. And, this can take you all the way as well. Recent films like Michael Clayton are good examples of films that really aren't using much in the way of orchestra.

For film, in the beginning and pretty much until you get to the summer blockbuster, there's less and less demand for that big orchestral sound.
 
The other thing to mention also is just to grab at whatever you can get to learn how music works with film, technically and narratively. The biggest film composers today started with short little student level films. At some point you'll out grow it. But, in the beginning it will be a challenge for you to even come up with 1 minute that works to picture and narrative that doesn't sound like total crap musically. For better or for worse film is a totally unique animal artistically in that it demands that you really know how to score dramatically as well as technically. You're writing to picture, story and if some how you can manage to get that and make some musical sense you'll have an advantage over the massive hoards of composers trying to make a quick buck.

It's an art and it's a business like no other.

best,

Jose


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## MacQ (May 13, 2008)

Hey guys,

Many thanks for taking the time to listen (and to spend the time to write your replies)!

I never went to music school in the traditional sense. I took about 8 years of piano lessons and am pretty much a student of the internet beyond that. So understandably my orchestral writing is pretty primitive.

Jose, what you say makes perfect sense: the producers who want that kind of score hire the guys that have been delivering that kind of score for decades. And that's cool with me. I really just did those tracks for my own amusement, more than anything. I have a love of it, and certainly will endeavour to study orchestration as my time allows. 

As an aside, I think the thing that's most challenging (and also fun at the same time) is the "one section, one part" situation. Coming from the pop world, if you want more guitars, you just add more guitars. Not so with a 1st Violin section, for example. If you already have them playing that sweeping line, they aren't playing some ostinato thing underneath. (Unless you thin it out, and change the colour of it completely.) It's fascinating, and I have great respect for the art and practitioners of orchestration. It really is an artform of "work with what you have", and I'm intrigued by it a lot.

So, I guess you'd say my best bet is to go after those student films to develop my technical and "story writing" skills?

Thanks,

~Stu


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## Craig Sharmat (May 13, 2008)

Stu,

Your music sounds good, you have a strong musical sense and good feel for production.

I suggest the understudy thing but it may be difficult from Calgary.

my first piece of advice is to move to Saskatchewan...in the middle of winter and run barefoot through the snow...for an hour or 2 or more.

Actually where you are may be a hinderance for making career moves. Is there much TV show production in Calgary or a fledging movie industry?...my guess is a move to Toronto or Vancouver would be a better place to get going if you are serious. You may want to go the coffee running route for a bit if you find a well connected composer. You are young enough that you will eventually if not quickly work your way in.


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