# At 20 years old, what can I do to get started in the industry and find jobs?



## KEM (Apr 1, 2018)

At 20 I feel I'm in a great position as I know exactly what I want to do for the rest of my life, and that's media scoring. I'm ready, willing, and able to do whatever it takes to be successful and I'm dedicated and passionate about it and want to learn everything I can.

But my other problem is that, at 20, I don't really know anyone, because I don't have connections I don't know how to go about getting hired to compose for peoples projects. I know I'm capable of being great, and I have no doubts that I will be successful, but I want everyone that's done it to chime in for me and give me advice on how I can meet people and start making connections and getting jobs. I feel like I should start interning somewhere, as everyone I look up to started that way, but I'm open to any suggestions people have. Thanks in advance!


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## merlinhimself (Apr 1, 2018)

KEM said:


> At 20 I feel I'm in a great position as I know exactly what I want to do for the rest of my life, and that's media scoring. I'm ready, willing, and able to do whatever it takes to be successful and I'm dedicated and passionate about it and want to learn everything I can.
> 
> But my other problem is that, at 20, I don't really know anyone, because I don't have connections I don't know how to go about getting hired to compose for peoples projects. I know I'm capable of being great, and I have no doubts that I will be successful, but I want everyone that's done it to chime in for me and give me advice on how I can meet people and start making connections and getting jobs. I feel like I should start interning somewhere, as everyone I look up to started that way, but I'm open to any suggestions people have. Thanks in advance!



I definitely think an internship would do you great. I moved out to Los Angeles without knowing anyone in the industry, found a regular job to support myself while I figured things out. After 2 months being here I started interning at HZ's Remote Control Productions. I had reached out to one of the engineers and he made the suggestion to drop by and hand over a resume for the internship. It was a great experience and I met a lot of great people and in turn ended up getting an assistant position for one of the composer's. I think everyone has an opinion on how to reach your goal, theres no wrong or right way, just what works for you and what opportunities present themselves. Working as an assistant usually has a high demand for hours and often little pay, but enough to support yourself and the amount you learn in the position is invaluable.


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## Maxime Luft (Apr 1, 2018)

I'm 21, have good contacts here in Germany, and everything has always been about dedication, hard work and getting to know creatives.

Make those you meet in real life listen to your compositions. If one of them knows someone who needs exactly what you do, this will be your starting point.


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## MatFluor (Apr 1, 2018)

KEM said:


> But my other problem is that, at 20, I don't really know anyone, because I don't have connections I don't know how to go about getting hired to compose for peoples projects



There you go.

It depends - I'm starting out as well. What I saw so far is - if you don't really excel, it's hard to be taken seriously when you're young. (I'm 32, it's less of a problem for me though).

Get to know people, directors, music supervisors etc. It depends highly where you want to work.

Look for people who need music, ask a lot of people to score their stuff - shortfilms, games - whatever media you prefer. I just scored my first shortfilm, and am composing for three videogames (and one of those I'm the head of audio at the same time).

Considering internships - it's hard to find those. Where do you live? for internships, that becomes an increasingly important thing. Go where the people are that might hire you. As far as I've seen, there are enough composer who hire interns, but not enough composers for all those who want internships  And considering that - thought from the position of a composer looking for an intern (I'm not): What do I need the intern for? MIDI-Mockups production, phone calls maybe, stem printing etc.etc. the tedious work.

So: Can you produce good mockups (I mean at the standard of the people you want to get hired by)? Do you know the tools of the trade? (DAWs, Plugins, Pro Tools, Coffee machines yadda yadda). If so - just ask them if they need somebody, and talk to them. People hire people first and foremost, so if you are a nice and cool guy to work with and if you then are a mockup and composition wizard as well, then you're hired.

As said in the beginning - I'm too somewhere at the start, not interning, but learning a lot from some people. You have to know where you are and where you want to go - and the important part - how to get there. So, what is your end goal? What does your "I'm capable of being great" mean? Not to be snarky, but "great" compared to whom? Are we talking John Williams great, or "random soundcloud guy who puts out his first selfmade song" great?

I think most composer who hire interns are not just "nice guys wnating to give people a chance" - that's a part of course too, but not the main reason. The main reason is - can you solve a problem (or help to solve) that exists for this composer? Be it IT-Administration, Mockups, preparation, whatever. Writing so called "additional music" comes somewhere down the line mostly.

What other things you want to do? composing for e.g. film in LA is gonna be hard - to quote Ron Jones:

"There are 100'000 composer running around in LA that are great, I mean really great. But there are only 5'000 who make a decent living."


EDIT:
I've only seen now the "Be so good they can't ignore you" thing (I was writing at the same time obviously) - another quote from Ron Jones on that:

"It's already assumed that you know music, It's already assumed that you can record music, so let's not even worry about that anymore. You need to understand what they want, 'cause you're not creating a product that they want. Like people go in and say "I need this product, I need that product", they dont need the other things, they are not interested in the whole store, they just want to get their few things and get out."


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## merlinhimself (Apr 1, 2018)

MatFluor said:


> DAWs, Plugins, Pro Tools, Coffee machines yadda yadda


100% agree. Learn and make yourself as useful as possible. I really believe I got my position over the others who interviewed because 1. I was personable and friendly and 2. I knew all the programs/gear he uses (Cubase, VEP, Pro Tools, etc) not to say I knew everything, but those being the foundation and that he needed someone asap that he wouldnt have to take too long to train.


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## KEM (Apr 1, 2018)

merlinhimself said:


> I definitely think an internship would do you great. I moved out to Los Angeles without knowing anyone in the industry, found a regular job to support myself while I figured things out. After 2 months being here I started interning at HZ's Remote Control Productions. I had reached out to one of the engineers and he made the suggestion to drop by and hand over a resume for the internship. It was a great experience and I met a lot of great people and in turn ended up getting an assistant position for one of the composer's. I think everyone has an opinion on how to reach your goal, theres no wrong or right way, just what works for you and what opportunities present themselves. Working as an assistant usually has a high demand for hours and often little pay, but enough to support yourself and the amount you learn in the position is invaluable.



Damn dude it seems like you're certainly doing well for yourself!! I've definitely looked into Remote Control but I have no idea if I could actually get accepted into it, I know Junkie has an open door policy for potential internships so I was thinking of sending him some stuff I've done and try to talk to him about that, just gotta build up the confidence to actually do it haha. But if you were able to get in not knowing anyone I'll definitely have to talk to you some more, I'm trying to get to know everyone who's doing it!



Maxime Luft said:


> I'm 21, have very good contacts here in Germany, and everything has always been about dedication, hard work and getting to know creatives.
> 
> Make those you meet in real life listen to your compositions. If one of them knows someone who needs exactly what do, this will be your starting point.



I'm getting there!



MatFluor said:


> There you go.
> 
> It depends - I'm starting out as well. What I saw so far is - if you don't really excel, it's hard to be taken seriously when you're young. (I'm 32, it's less of a problem for me though).
> 
> ...



My end goal is media scoring at the highest level, films/games/shows, those three are what I want to compose for. And as far as how great I want to be, that's a hard comparison to make, my favorite composer is Junkie, so his level, but better, that's what I aim for. I know well enough that's it's gonna be hard, but that excites me, I got one shot on this earth and I'm gonna make the most of it, the whole concept of working a 9 to 5, having a wife and two kids, and retiring around 60 doesn't work for me.

Here's a link to some stuff I've rescored so you can get a sense of what I'm capable of, all of these have been made since February, so they're a good representation of where I'm at right now. https://www.youtube.com/channel/UCAGnlUR2fZZMOm37_aNnEdQ


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## merlinhimself (Apr 1, 2018)

KEM said:


> I've definitely looked into Remote Control but I have no idea if I could actually get accepted into it


There isnt really a per-requisite, you just have to be able to earn a credit and show a real interest, which if youre not in school at the moment there are local colleges that offer a "class" for 200-300 to give you a credit for the internship. When I interned, it was me and 5 other people interning. Once I left there were about (not even kidding) 15 interns. The guy who runs operations is very cool and flexible.


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## KEM (Apr 1, 2018)

merlinhimself said:


> There isnt really a per-requisite, you just have to be able to earn a credit and show a real interest, which if youre not in school at the moment there are local colleges that offer a "class" for 200-300 to give you a credit for the internship. When I interned, it was me and 5 other people interning. Once I left there were about (not even kidding) 15 interns. The guy who runs operations is very cool and flexible.


Really? Can you link me to anything? I was thinking of taking some of Mike Verta's classes, I know everyone around here raves about them, but anything that can get me credits I'll take!


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## MatFluor (Apr 1, 2018)

KEM said:


> My end goal is media scoring at the highest level, films/games/shows, those three are what I want to compose for. And as far as how great I want to be, that's a hard comparison to make, my favorite composer is Junkie, so his level, but better, that's what I aim for. I know well enough that's it's gonna be hard, but that excites me, I got one shot on this earth and I'm gonna make the most of it, the whole concept of working a 9 to 5, having a wife and two kids, and retiring around 60 doesn't work for me.



Well, then go for it!

A word of caution though - that's right, most composers I know are not 9-5 jobs - they work far more. If you're not with the chosen dozen, making a living can be tough.

As said - go on and score some stuff and get work experience. Student films, shortfilms, videogames etc. There are lots of indies and amateur things you can put your music into.

Be prepared, you never know when an opportunity arises - and as far as I've heard, LA is similar to silicon valles's work ethics: Work until you drop. And what I also heard from various people in LA, you gotta be tough there. As Mike Verta puts it (excuse the paraphrasing), it's a hive of scum and villany with people who you don't want to work with.

So - be prepared 

I guess you're in the US then?


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## KEM (Apr 1, 2018)

MatFluor said:


> Well, then go for it!
> 
> A word of caution though - that's right, most composers I know are not 9-5 jobs - they work far more. If you're not with the chosen dozen, making a living can be tough.
> 
> ...



Yessir! Currently in St. Louis, MO. Do you know of any ways on how I can find people that are doing smaller projects? I definitely want to do a few to get something under my belt and have original work to show, but I have no idea on how to find those people. Guess I should hanging around my local colleges and ask around.


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## MatFluor (Apr 1, 2018)

Quick addendum:

I'm swiss and live in Switzerland, I can only go be what I've heard, I've not witnessed it (and my goal is not to be in LA - I'm focusing on smaller films etc.)


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## MatFluor (Apr 1, 2018)

KEM said:


> Yessir! Currently in St. Louis, MO. Do you know of any ways on how I can find people that are doing smaller projects? I definitely want to do a few to get something under my belt and have original work to show, but I have no idea on how to find those people. Guess I should hanging around my local colleges and ask around.



Yes, local colleges, maybe filmmaker groups on Facebook, online forums, online chats, indie film festivals and all those places.


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## MattCurious (Apr 1, 2018)

Hi KEM

I'm just starting out too, and I've just landed my first project. I think all of the advice about learning your craft is spot-on. But like any business (I have a successful first career) you can't underestimate the importance of building relationships - particularly in real life. My project came via an engineer who recommended me to a producer, who in turn introduced me to much more successful composers etc etc...

I can't speak for everywhere or everyone, but most professional music people I've met (in London, UK) are extremely generous and giving of their time, knowledge and skills - even (perhaps especially) serious people with serious credits.

Best wishes
Matt


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## KEM (Apr 1, 2018)

MatFluor said:


> Yes, local colleges, maybe filmmaker groups on Facebook, online forums, online chats, indie film festivals and all those places.


Haven't actually thought about all of those, see there's tons of avenues I didn't even know about, thanks for the suggestions!!


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## KEM (Apr 1, 2018)

MattCurious said:


> Hi KEM
> 
> I'm just starting out too, and I've just landed my first project. I think all of the advice about learning your craft is spot-on. But like any business (I have a successful first career) you can't underestimate the importance of building relationships - particularly in real life. My project came via an engineer who recommended me to a producer, who in turn introduced me to much more successful composers etc etc...
> 
> ...



Thanks! I'm definitely trying to build a network of people, that's partially why I jumped on here and on Reddit, I've got a long ways to go, but I'm excited for what the future holds for me.


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## MatFluor (Apr 1, 2018)

Maybe as small input from my side:

I'm building up my portfolio and future career. I'm saving up money to go fulltime - to explain - I save up enough money to sustain myself without income for 2-3 years. That way I can give my self all the time I need for hustling, composing and actually getting gigs. I personally advise you would do the same - I don't like high financial risks 

And yes, it's a business like every other business. You've got income and expenses, business talk, legal stuff (you are registered with a PRO, right?), contracts, writing business mails, pitching etc.
Just as any other freelancer would do


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## KEM (Apr 1, 2018)

MatFluor said:


> Maybe as small input from my side:
> 
> I'm building up my portfolio and future career. I'm saving up money to go fulltime - to explain - I save up enough money to sustain myself without income for 2-3 years. That way I can give my self all the time I need for hustling, composing and actually getting gigs. I personally advise you would do the same - I don't like high financial risks
> 
> ...



I'm extremely lucky in the sense that my parents are supportive of what I'm pursuing and pay for all my expenses, which means I can work and spend all my money on equipment and not have to worry about rent, insurance, food, gas, etc. so I pretty much just make music all day besides when I'm working.

And what's a PRO? Might have to look into that...


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## CT (Apr 1, 2018)

KEM said:


> I'm extremely lucky in the sense that my parents are supportive of what I'm pursuing and pay for all my expenses, which means I can work and spend all my money on equipment and not have to worry about rent, insurance, food, gas, etc. so I pretty much just make music all day besides when I'm working.



Just a friendly warning from personal experience, 6 years further on from where you are now: this is a great support system to have, but do be *very* careful about it leading to complacency. Don't dump every bit of money into music stuff. You will want to get out on your own sooner than you think, and it'll help to have some cash to work with.

I can't answer your initial question any more than I've been able to answer it for myself yet, unfortunately. I do think it's important to learn everything you can, if for no other reason than out of respect for the art form we're a part of. I spent a weird amount of time learning about Renaissance rhythmic practices, for example, just because it was available knowledge and I wanted to absorb everything possible. As it turns out, that shit is really cool and I apply it to a lot of what I do.

What I'm getting at, I guess, is that you should try to not let the technological side of things monopolize your curiosity. It's important, but definitely saturate yourself in the actual music as well, every aspect of it. I was lucky in a way, because I spent years of that time my parents' generosity allowed me on purely musical matters, before tackling the whole DAW/VI thing. Part of me thought I could get away with ignoring all of that and remaining a pencil/paper person. Alas....

As for connections and networking, that is easier to do now than ever, thanks in no small part to sites like this. I've gotten a few opportunities through physical word-of-mouth among friends etc., but the most significant contacts have come from the internet. 

Related, the question of "do I need to be in Los Angeles?" is one you might find yourself asking, just like I did. The wisdom I've gleaned on that subject lead me to conclude that there's an obvious, undeniable advantage to it, but that it is also a very difficult place to live for a number of reasons, and that it is in fact possible to infiltrate the world of media scoring from afar, likely (though not necessarily) with less ease. And obviously if you have an RCP internship or assistant offer, you need to be there. I plan to return to my home state of New York as soon as possible and make my stand from there, but if Hans wanted me to work with him, clearly I'd start looking into moving out there instead. 

You have to have the goods, and also be comfortable with putting yourself on display and getting attention. I'm working on the second part. If Junkie XL has an "open door" policy regarding interns or assistants, then take advantage of that once you feel ready, but don't overthink that part of it or you'll never act. I am only realizing these things myself recently. Maybe I need to give Junkie a call too.

Sorry to turn this into a litany of lessons I've learned myself on the path you're trying to walk; hopefully it's helpful, and if anyone with more experience disagrees with any of it, please correct me, for both my sake and OP's.


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## KEM (Apr 1, 2018)

miket said:


> Just a friendly warning from personal experience, 6 years further on from where you are now: this is a great support system to have, but do be *very* careful about it leading to complacency. Don't dump every bit of money into music stuff. You will want to get out on your own sooner than you think, and it'll help to have some cash to work with.



Oh I know, or at least I try to act like I do haha, I still save up money for that very reason.


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## MatFluor (Apr 1, 2018)

KEM said:


> I'm extremely lucky in the sense that my parents are supportive of what I'm pursuing and pay for all my expenses, which means I can work and spend all my money on equipment and not have to worry about rent, insurance, food, gas, etc. so I pretty much just make music all day besides when I'm working.
> 
> And what's a PRO? Might have to look into that...



Sometime in the tfuture that support will cease - for whatever reason (you moving out, parents going "hey, time to get a job" etc.etc.). That's why I say - save up money - work with what you have, excel with it, and then you have money to actually pursue your dream

PRO: Performance rights organisation, in the US, mostly BMI or ASCAP. Royalties.


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## KEM (Apr 1, 2018)

MatFluor said:


> Sometime in the tfuture that support will cease - for whatever reason (you moving out, parents going "hey, time to get a job" etc.etc.). That's why I say - save up money - work with what you have, excel with it, and then you have money to actually pursue your dream
> 
> PRO: Performance rights organisation, in the US, mostly BMI or ASCAP. Royalties.



I'll have to look at that! That whole aspect of the business is currently a mystery to me and I surely don't want to get screwed over for something I do of course.


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## bc3po (Apr 1, 2018)

merlinhimself said:


> I definitely think an internship would do you great. I moved out to Los Angeles without knowing anyone in the industry, found a regular job to support myself while I figured things out. After 2 months being here I started interning at HZ's Remote Control Productions. I had reached out to one of the engineers and he made the suggestion to drop by and hand over a resume for the internship. It was a great experience and I met a lot of great people and in turn ended up getting an assistant position for one of the composer's. I think everyone has an opinion on how to reach your goal, theres no wrong or right way, just what works for you and what opportunities present themselves. Working as an assistant usually has a high demand for hours and often little pay, but enough to support yourself and the amount you learn in the position is invaluable.


When were you at RCP?


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## merlinhimself (Apr 1, 2018)

bc3po said:


> When were you at RCP?


A couple year's ago as an intern, but just moved back (Dave's assistant)


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## KEM (Apr 1, 2018)

merlinhimself said:


> A couple year's ago as an intern, but just moved back (Dave's assistant)



How long had you been making music before you decided to move out to LA?


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## bc3po (Apr 1, 2018)

merlinhimself said:


> A couple year's ago as an intern, but just moved back (Dave's assistant)


Ha. I’ll introduce myself next week. I’ve seen you around.


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## KEM (Apr 1, 2018)

bc3po said:


> Ha. I’ll introduce myself next week. I’ve seen you around.



You're there too? What steps did you take to get there?


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## bc3po (Apr 1, 2018)

KEM said:


> You're there too? What steps did you take to get there?



I started interning there in 2008/2009. I was lucky enough to know someone who knew someone that got me an interview there.


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## KEM (Apr 1, 2018)

bc3po said:


> I started interning there in 2008/2009. I was lucky enough to know someone who knew someone that got me an interview there.



It really is all about connections... well, good thing I'm here!!


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## Farkle (Apr 1, 2018)

KEM said:


> I'll have to look at that! That whole aspect of the business is currently a mystery to me and I surely don't want to get screwed over for something I do of course.



From a business standpoint, I recommend (I mean REALLY recommend) you read some books about the music business, not just the film scoring business, but about how royalties, publishing, sync fees, and licensing works. You need to remember that this is a *business* first, and that there is money involved, at every stage of the game.

Two books that I highly recommend, are:





Second, I would say that you take some time, and think about this as a _career. _Not an _art_, not a _passion_, but a developing arc of creating media art for clients. It requires a whole set of skills that are independent of your ability to compose and produce music:

Timeline/project management
Contact/Sales Management
Budget Management
Developing relationships with other musicians (live performers, mixers, etc)
Daily time management (so you don't get burned out, get enough exercise, etc)
Professional development (theory study, business study, staying competitive on new trends)
Networking

I mean, I think it's awesome that you have this passion; I think it's great you have parental support; you need to take advantage of this. So, the best thing you can do (IMO) is approach this surgically, professionally, and start making deep inroads into this industry. Learn where you can put your music to make you money, network, make connections, develop your quality to where "you can't be ignored" (to paraphrase that excellent quote above). Be ruthless with your self-assessment. Because, honestly, if you're not constantly self analyzing and working to be better than the more experienced, more connected composer, you're out of luck.

Now, on to your chops. I've listened to three of your tracks (There Will Be Blood, the Accountant, and Monsters Inc)... I have some thoughts about them, and please, take them, as one dude's opinion.

Well, they all work as media pieces, they're certainly functional. There Will be Blood is serviceable, and it works. Nothing special, but nothing awful. It's completely workable. 

In the Accountant, you show that you have a good sense of timing and tempo, your grooves hit the beat points pretty well; I think you need to acknowledge the action beats more, but you said you're a Junkie XL fan, and he plays through the beats, like you did, so that's cool. You want to go that way.

In Monsters inc, I have negative and positive feedback. First, negative. You basically score that cue the same way you did others, long, slow moving lines, over the dramatic and emotional beats. I guess you can do it that way, but honestly, that's not the genre. The genre of Disney/Pixar really... the music really follows the beats of the emotions, and changes and swells very quickly and romantically. Yes, you can say Hans did it differently in Lion King and Prince of Egypt, but I still stand by the golden, silver, and bronze age animation scoring, where you pay close, CLOSE attention to the timings of the dialogue and character emotions, and really emotionally milk them. That scoring is too loose.

Here's the positive; at about 1:25, when Sully takes Boo back into her room, you state a theme. That theme... is AWESOME. It's a really really GOOD theme. Better than anything I could write. The fact that you did that; that's something special. If you can make themes like that; that's a real gift. You need to encourage and develop that; pronto. And, you need to learn how to vary and restate that theme; state it once in piano, then once in oboe and strings, then once in horn choir; you see what I mean? Cause that's craft, modulating and developing it... but coming up with that? That's art. 

So, man, you have a ways to go, but you have some real guns in your arsenal, and don't knock the single thing that knocked me out, which is your thematic writing, cause that moment in monsters inc, that you wrote. That will get you hired. Period.

Good luck, man. I hope this helped!

Mike


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## Farkle (Apr 1, 2018)

KEM said:


> At 20 I feel I'm in a great position as I know exactly what I want to do for the rest of my life, and that's media scoring. I'm ready, willing, and able to do whatever it takes to be successful and I'm dedicated and passionate about it and want to learn everything I can.
> 
> But my other problem is that, at 20, I don't really know anyone, because I don't have connections I don't know how to go about getting hired to compose for peoples projects. I know I'm capable of being great, and I have no doubts that I will be successful, but I want everyone that's done it to chime in for me and give me advice on how I can meet people and start making connections and getting jobs. I feel like I should start interning somewhere, as everyone I look up to started that way, but I'm open to any suggestions people have. Thanks in advance!



This is easy. Do the one thing that you need to do to find out if people need interns.

Go to IMDB, look up 100 (!) composers that write for film and TV, whose work you like.

Email them with a professional, succinct email, inquiring about being an intern. Link them to your youtube page.

Follow up after 2 weeks. See what kind of feedback you get. If you get denied, ask for feedback on your reel.

If you get no "yes'es", then take 6 months, improve your composing, your production, and your reel, and try again.

Mike


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## KEM (Apr 1, 2018)

Farkle said:


> From a business standpoint, I recommend (I mean REALLY recommend) you read some books about the music business, not just the film scoring business, but about how royalties, publishing, sync fees, and licensing works. You need to remember that this is a *business* first, and that there is money involved, at every stage of the game.
> 
> Two books that I highly recommend, are:
> 
> ...




Wow man, thank you so so much, I don't even know what to say... I really appreciate that, I will admit that the Monsters Inc scene was one of the hardest for me, but I did really try to write something that would push the somber tone when he was leaving her for good, and I'm glad you really enjoyed that, I felt like it worked pretty well, and I definitely get what you're saying about developing on it and modulating it to different instruments, that's a skill I'm working on developing.

I'm definitely gonna look into those books, so I appreciate you recommending them to me, at 20 years old my business sense is, as you'd expect, nonexistent, so that's something I need to dive into and learn about because at the end of the day that's what's gonna get me jobs and allow me to live a successful life as a composer.



Farkle said:


> This is easy. Do the one thing that you need to do to find out if people need interns.
> 
> Go to IMDB, look up 100 (!) composers that write for film and TV, whose work you like.
> 
> ...



Good idea! Since Junkie has an open door policy for potential internships I was definitely planning on sending him some of my stuff and trying to inquire about getting an internship, but the more composers I can get in touch with the better chance I have of getting an internship, and I'm open to working with anyone that'll have me! The never give up attitude is something I always keep in mind, so if I get a "no" I know it's not permanent, I can always improve and change their minds. It's a long road I have ahead of me, but I know I'll get to where I want to be.


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## Farkle (Apr 1, 2018)

Farkle said:


> From a business standpoint, I recommend (I mean REALLY recommend) you read some books about the music business, not just the film scoring business, but about how royalties, publishing, sync fees, and licensing works. You need to remember that this is a *business* first, and that there is money involved, at every stage of the game.
> 
> Two books that I highly recommend, are:
> 
> ...




Dammit, it didn't post. The books are 

The Music Business, by Passman

Music, Business, and Success, by Brabec.

You'll find them both on Amazon.


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## KEM (Apr 1, 2018)

Farkle said:


> Dammit, it didn't post. The books are
> 
> The Music Business, by Passman
> 
> ...



Sweet! I'll get em, might have my dad read them too, he knows nothing about the industry but really cares about my success so I'm sure he'd like to read them so he can help me out with all of that stuff.


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## Farkle (Apr 1, 2018)

KEM said:


> Wow man, thank you so so much, I don't even know what to say... I really appreciate that, I will admit that the Monsters Inc scene was one of the hardest for me, but I did really try to write something that would push the somber tone when he was leaving her for good, and I'm glad you really enjoyed that, I felt like it worked pretty well, and I definitely get what you're saying about developing on it and modulating it to different instruments, that's a skill I'm working on developing.
> 
> I'm definitely gonna look into those books, so I appreciate you recommending them to me, at 20 years old my business sense is, as you'd expect, nonexistent, so that's something I need to dive into and learn about because at the end of the day that's what's gonna get me jobs and allow me to live a successful life as a composer.
> 
> ...



Awesome. And, FWIW, when I started, 15 (!) years ago, I emailed 50 TV and film composers, asking exactly that. Heard back from 30 of them, and ended up doing work for 4 of them. So, at least, I can say, this structure worked for me.

Plus, I ended up having lovely phone chats with Bear McCreary, Jay Gruska, and other composers; so that was cool, too.

Mike


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## KEM (Apr 1, 2018)

Farkle said:


> Awesome. And, FWIW, when I started, 15 (!) years ago, I emailed 50 TV and film composers, asking exactly that. Heard back from 30 of them, and ended up doing work for 4 of them. So, at least, I can say, this structure worked for me.
> 
> Plus, I ended up having lovely phone chats with Bear McCreary, Jay Gruska, and other composers; so that was cool, too.
> 
> Mike



See this is why I'm so glad I finally decided to sign up, I've gained a lot of confidence and knowledge just today since making my account, I can tell this is a great place to be, and to hear from people doing it really inspires and drives me to go even harder.


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## Jeremy Spencer (Apr 3, 2018)

If I were 20 years old again, I would move to LA and immerse myself in the scene. IMHO, it's really the way to go if you want to make an attempt at "making it"....especially right now while you don't have any of the burdens that come later in life. If you want it bad enough, you'll find the success. I chose to tour in Metal bands when I was 18 (did it for 6 years in the early 90's), and it was a wise decision; I couldn't have pulled that off later in life. No regrets, and no what-if's.


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## PeterN (Apr 3, 2018)

If u really want to become something different and possibly stand out from the epic crowd, then u need to go the road less travelled. But thats a fuckin rocky road and it can lead to disaster, both economical, mental and physical. But if u really want to get there u must take that risk at some point. Now what this means in practice, u need to figure out yourself, like an existential alchemist of some kind. True music is art and spirit, expression, joy, grief and blood of life, so u need to follow life to find it. Lots of risks on that road, if its a genuine one. Ask yourself if u are ready to take the risk. You need to jump in the current without a life jacket.


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## KEM (Apr 3, 2018)

Wolfie2112 said:


> If I were 20 years old again, I would move to LA and immerse myself in the scene. IMHO, it's really the way to go if you want to make an attempt at "making it"....especially right now while you don't have any of the burdens that come later in life. If you want it bad enough, you'll find the success. I chose to tour in Metal bands when I was 18 (did it for 6 years in the early 90's), and it was a wise decision; I couldn't have pulled that off later in life. No regrets, and no what-if's.



Agreed! I'm trying to get out there as soon as possibly, I have some friends that are moving out there this year and they invited me to go with them, so I'll most likely be doing it.



PeterN said:


> If u really want to become something different and possibly stand out from the epic crowd, then u need to go the road less travelled. But thats a fuckin rocky road and it can lead to disaster, both economical, mental and physical. But if u really want to get there u must take that risk at some point. Now what this means in practice, u need to figure out yourself, like an existential alchemist of some kind. True music is art and spirit, expression, joy, grief and blood of life, so u need to follow life to find it. Lots of risks on that road, if its a genuine one. Ask yourself if u are ready to take the risk. You need to jump in the current without a life jacket.



Oh yeah for sure, this isn't easy, and if I don't take the risks I wouldn't make it very far, I gotta put everything on the line for this.


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## Jeremy Spencer (Apr 3, 2018)

Just make sure you get your ducks in a row first (working visa, health insurance, etc).


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## Desire Inspires (Apr 29, 2018)




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## Desire Inspires (Apr 29, 2018)




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## dciurlizza (May 2, 2018)

Hey KEM! Lots of great advice above. Here's another thing that might be worth considering - all caps for organization...

*TAKING THE TIME TO GENUINELY CONNECT*

I really like finding work/connecting with filmmakers on sites like vimeo and Kickstarter. You could also do that on YouTube, Reddit, IndieGoGo, Facebook, or anywhere else filmmakers upload their content.

After discovering a film you've really enjoyed, look up the filmmaker and watch the rest of their available work. If what they're making is exciting to you, find 'em on FB or Instagram and let them know you love what they're doing. This is also a perfect time to get into what you specifically like about their films - great storytelling, compelling cinematography, amazing use of colors... even music, if you enjoyed it!

Explore each others interests and talk about your philosophies on great filmmaking. As an example, I think films driven by people-focused drama (rather than action-focused drama) are way more compelling most times. Another time, a director and I talked about how we both love to cook and how similar the process is to filmmaking.

The one thing I never do is talk about my music. It's not that I'm keeping it from them, it's just that talking about storytelling is more exciting for me (and generally more fun for them too). Plus, there's something special about connecting for the sake of being friendly and learning more about someone, rather than selling ourselves.

*FRIENDS LOVE WORKING WITH FRIENDS*

Once you guys get going, there's a good chance they'll remember you for your interesting ideas. Keep up with what they're working on and continue being a genuine fan of their work. In time, your new friend will discover - sometimes all on their own - that you're pretty good at writing music for films. And they'll want to see _you_ succeed just as you do for them.

Ultimately - just as great people enjoy connecting with great people - friends love working with friends.

Hope that helps!


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