# How do you get hired in the music/film industy?



## rvb (Nov 3, 2017)

I am doing many things these days with music. But I can't seem to get in contact with anyone that's in the film media industry, which is something I really really want. Where do I go from here?How did you get the contacts? Who should I send my demo's to? Any experience or thoughts would be massively appreciated!!!


----------



## ColonelMarquand (Nov 3, 2017)

You do mixing and mastering? Great. Can you put up just one example?


----------



## rvb (Nov 3, 2017)

Sure, I'll upload some stuff and share some links here.


----------



## mac (Nov 4, 2017)

10Dman said:


> Have some inspiration from this film scoring giant!
> Be sure to watch the whole thing, a lot of super useful information in it




Haha, not a Brian Tyler fan?


----------



## Jeremy Spencer (Nov 6, 2017)

rvb said:


> I am doing a lot of things these days, such as library stuff, mixing and mastering for others. But I can't seem to flow into the film media industry, which I really really want. Where do I go from here? I also don't want to upload my best music on soundcloud due to the internet and stealing and whatever. How did you get the contacts? Who should I send my demo's to? Any experience or thoughts would be massively appreciated!!!



That's a difficult question to answer. Your best bet? Pound the pavement and make contacts in the industry, starting in your local area; this could include local independent film groups. This will give you some experience and credentials. Networking and persistence is the key, and most of all, being in the right place at the right time (luck!).

Regarding people stealing your music, I wouldn't worry about it.


----------



## ThePrioryStudio (Nov 7, 2017)

Wolfie2112 said:


> Networking and persistence is the key



+1
+1
+1
+1
+1


----------



## Saxer (Nov 8, 2017)

Don't rely on internet connections until you met your partners face to face. It's all about personal connections. Don't send things but give them to someone. Work can be done over the net but getting work is a thing of eye to eye contact and personal recommendation.


----------



## rvb (Nov 8, 2017)

Saxer said:


> Don't rely on internet connections until you met your partners face to face. It's all about personal connections. Don't send things but give them to someone. Work can be done over the net but getting work is a thing of eye to eye contact and personal recommendation.


Thanks for taking the time and respond saxer!! Great advice .


----------



## Lassi Tani (Nov 8, 2017)

Saxer said:


> It's all about personal connections.



I agree with Saxer. I think the same principles as selling any kind of product can be used for getting into film industry. There's one great principle that I've heard often: *First sell yourself, then your product.* Start networking, e.g. expos, film festivals, get to know people, after you've won the trust of the right people show how awesome music you can create.


----------



## Jeremy Spencer (Nov 8, 2017)

Saxer said:


> Don't rely on internet connections until you met your partners face to face. It's all about personal connections. Don't send things but give them to someone. Work can be done over the net but getting work is a thing of eye to eye contact and personal recommendation.



True enough, but I've never personally met most of my clients; many are in Europe and Asia.


----------



## Mihkel Zilmer (Nov 8, 2017)

The road to first contacts in the film industry has probably been very different for most people - my own was through film school. The suggestions here are very good, but I'd like to add a couple of things for later on, when you have made first contact and are working on a film, which I think is every bit as important (if not more so)..

Many of the films I've worked on started with someone contacting me and saying: "So, I was having a beer with _*name of previous client*_ and they spoke really highly of you, so I decided to get in touch".

I always try to be both professional and friendly at the same time. I want the people working with me to have a good time (and I also want to have a good time while working with them). It's important to be very professional - organised, always on time, constantly giving updates and staying in touch, and to be well-spoken. But also, don't put up a cold "corporate" wall between you and the client. Don't use the colloquial "we" when it's really only you you're talking about. Don't keep referring to yourself by using the very hip and clever name you registered your business under. Filmmakers want to know they are dealing with another human being, someone with emotions and (occasionally moderated) opinions. Someone who is truly invested and interested in joining them in their creative journey.

You can be the most amazing and talented composer on the planet, but if you are difficult to work with then people won't pass your name around, or hire you again.

By the way, for many filmmakers, not being there in person (i.e. working remotely) is a difficulty. They will want to meet you in person, and preferably do so regularly. Judging someones emotional response is so much more difficult over Skype / phone, and the filmmakers will be VERY interested in your emotional response to their ideas.
The same is true in the opposite direction - it also makes it easier for you as a composer, because having them sitting there in the room while you play back your cues, you will be able to see how they react to each little detail in real time. As you get to know a director, you will probably start to notice little bits of their body language, which can sometimes give you far better feedback than their words. And of course getting feedback over email is the worst. A one-liner like "I'm not quite sure about it" - well, now it's impossible to figure out which part they are not sure about, they may even like 95% of what you did, but some little detail might really annoy them, and it's often difficult for them to figure out what it is. But if they are sitting right next to you, you can focus on individual sounds and instruments, or details of the composition, and quickly and efficiently find out what they like and what they don't like.

Working with filmmakers is mostly about trying to understand and translate their needs and wishes. Anything you can do to make this process easier and more productive is only going to benefit both of you (and the film!)

And then sometimes they will call you up at 2AM with crazy new ideas they've just thought of, and maybe they'd like to come around to your studio immediately to try those things out... if you can accommodate for that sort of thing you're almost guaranteed to get a glowing recommendation from that director next time your name comes up..

Sorry for the rambling, I should really get back to work now..


----------

