# Reaching Out To Composers



## Gerhard Westphalen (Nov 29, 2016)

This past summer I made the decision to stop pursuing work as a film composer for a career (although I'm happy to do it if opportunities come up) as I'm not interested in developing the storytelling skills that it takes to be a great film composer regardless of how much I love film. This was after spending a considerable amount of time in LA with a composer and seeing that I don't want to do what he's doing. I'm a musician and scientist at heart, not a storyteller and psychologist . I enjoy working most with other musicians.

Since then I've been trying to find composers who I can work with/for doing the whole tech/orchestration/mixing spiel. I emailed around 100 film composers in Canada introducing myself and saying that I'm looking to get more involved with composers in Canada doing the things that I do. I heard back from around 10 with all but 4 saying that they either have no interest in working with me or already have their own teams setup but would put me on their list of people. I met with 2 composers here in town and both were surprisingly really excited to get me involved with their projects with all of the various things that I do. They weren't really aware of the things possible to improve their work or workflow so it was only once we sat down and chatted that they saw that I actually had something to offer them.

I'd say that if I get 2 working relationships from all of the emails I sent, it was a success. The biggest problem would be that these composers are working on small projects so I'd only be getting a fraction of a tiny budget so I need to try to keep finding more composers I could potentially work with.

Do you guys have any suggestions for me to meet composers and essentially pitch myself to them without just spamming every composer who's email I can get a hold of? How would you prefer to meet someone like me? I've also found that a lot of the up-and-coming composers brush me off as they have no idea of what's possible with more complex RCP style setups and what's necessary for working on bigger budget films. It's difficult to get past that boundary.


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## Tysmall (Nov 29, 2016)

I don't think there is a right answer, I think it's just luck that you find someone in the right place and right time willing to give you the time of day. Most people are too busy building themselves to help build someone else.


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## Gerhard Westphalen (Nov 29, 2016)

Tysmall said:


> Most people are too busy building themselves to help build someone else.



I think this mentality is part of what gets in the way. A lot of people in assistant positions are doing it in hopes of getting help building themselves but I think this is different. In my case I'm looking to help composers building themselves rather than the other way around. Of course it would be great if they help me get other opportunities but my primary intention is to help them. I think most composers I know and have reached out to think that I'm trying to help them as a means to build my own career as a film composer which isn't the case. With both of the composers I recently met with, their first question was along the lines of "how is it that you think I can help you" to which I replied "well, actually, I'm here to help you."


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## JJP (Nov 29, 2016)

If you were to pitch yourself to me as a "tech/orchestrator/mixer", I'd read it as "jack of all trades, master of none," or just simply someone who doesn't yet have the experience to fully understand where the standard is for each of those jobs. ("Knows just enough to be dangerous," is the line many colleagues use. ) I've never met anyone who can do all of those things at a truly professional level.

It's also been my experience that if people don't know they need an assistant, they probably can't afford one.

Its a long road with more people who want to do this work than there are jobs. I've found it's usually better to meet people and then just be around when they happen to need something. Then if you are on their radar, you may get the call. Somebody I have known for a few years called me for a job for the first time a couple of weeks ago. The person was in a pinch and needed someone experienced who could get the job done right and in a hurry. My skills matched exactly what was needed. That's not the first time that has happened many years after making a connection.

People are often looking for someone to fill a specific need. When push comes to shove, a lot of composers end up wearing a lot of hats. When they need help, they tend to pick up the phone and call a person for a specific job. If they think of you as having the specific skill they need, you get the call.


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## Desire Inspires (Nov 30, 2016)

My suggestions:

I think you should just make music and submit it to music libraries. If you aren't trying to become a film composer, why waste time trying to "help" others? Help yourself!

There is no need to provide your services for free in order to build up someone else. Let others build themselves and hire you if they need help on something.

Besides, I don't think most composers have enough work to keep you busy anyway. The best value you could provide to other composers is filling in metadata and converting files for them. But some composers wouldn't even want you to do that for them.

Think about having fun and building your own empire. There is no need to complicate your life with other people's problems especially if there is no money involved.


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## mac (Nov 30, 2016)

Like @JJP says, I think you're spreading yourself too thin. If I were you, I would choose the one thing out of those three that you are best at, and promote that. There's no way you're at an equal skill level in all three, but even if you are, choose one and promote that full tilt.


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## dgburns (Nov 30, 2016)

You should look to a carreer in Audio Post.

-music editing
-sfx/foley/sound designer
-mixing tv and film


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## Gerhard Westphalen (Nov 30, 2016)

JJP said:


> If you were to pitch yourself to me as a "tech/orchestrator/mixer", I'd read it as "jack of all trades, master of none," or just simply someone who doesn't yet have the experience to fully understand where the standard is for each of those jobs. ("Knows just enough to be dangerous," is the line many colleagues use. ) I've never met anyone who can do all of those things at a truly professional level.



I'd agree that I'm a master of none and won't be the next Mark Wherry or Conrad Pope because when I do get good at something and at a professional level I move on to learn something else. When I finished the royal conservatory in violin I thought "well what now?" so I decided to finish it in piano too but then was faced with a "what now?" again so I went into university as a percussionist and could have a percussion performance degree if I wanted to. The same thing happened with all of these sorts of things. If you consider that I've been studying these film music related things pretty much full time for the last 8 year... that's a lot of time. Having exhausted most resources, getting work experience is really the only way for me to move towards mastering any of these things. 

A large part of it came from being told that I should start as an assistant if I wanted to be a film composer. So I focused on being the best assistant there could be by doing these things while neglecting any sort of writing or film studies and as a result I don't have any interested in writing but have developed these skills to a certain level. I've served all of these roles on music teams for films with decent budgets and so far have always found that my knowledge and skills were beyond what was needed. 

Having said all of that, I don't mind focusing on a single thing but so far most of the work that I've gotten has been from "wait, you do that as well?!" If I had only promoted myself as a violinist I would've missed out on 90% of the work that I've had and at the same time probably not have gained any additional work as a violinist.


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## Gerhard Westphalen (Nov 30, 2016)

dgburns said:


> You should look to a carreer in Audio Post.
> 
> -music editing
> -sfx/foley/sound designer
> -mixing tv and film



I have tried finding some work in those areas but even on things with no budget people have expected someone who already has credits. Even though I have Pro Tools certification and have taken courses in audio post, my knowledge is very limited when it comes to the proper workflow and all of that needed. I also did some work with game audio and the middleware but again, I don't know as much as I'd expect a professional to know. I'd much rather focus on the things that I already know quite a bit about. Having said that, I am potentially the music editor on a fairly big feature which is currently on hold and may be dubbing a feature in my studio.


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## JJP (Nov 30, 2016)

Sounds like you're pretty well sorted. Keep doing what you're doing.


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## karelpsota (Nov 30, 2016)

Be the best at something AND expose it publicly.
Then people will come to you.

For example, Daniel James shared his wisdom with YouTube videos.
Generdyn (Joshua Crispin) shared a free pack of sound design.
Blakus recently demonstrated his crazy midi orchestration in a video.

You can also release an album, but its harder to market since you're not helping anyone out (aka. giving value).


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## Gerhard Westphalen (Nov 30, 2016)

karelpsota said:


> Be the best at something AND expose it publicly.
> Then people will come to you.
> 
> For example, Daniel James shared his wisdom with YouTube videos.
> ...



Thanks for reminding me of YouTube videos. I once tried making videos going through tech stuff but that turned out horribly as I just wasn't a very good presenter. Perhaps I'll try doing something similar to Blakus's video over the Christmas break.


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## LamaRose (Nov 30, 2016)

I definitely second the "giving value" advice. When you hook-up with those 2 composers you mentioned, focus on making _them_ better composers in the eyes of their client. You will grow as well, most likely in ways you can't see now. You will grow and slowly become more and more valuable to those folks you were meant to meet and grow with.


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