# Hiring Composers on Pitch Alone



## kdm (Feb 18, 2010)

Because I really think many producers/directors today, esp. in the doc and indie market only look for a certain "sound", not the ability to score a scene or adapt writing to the "sound" or style they are looking for. I hope this isn't a general trend in the production world, but fear it is.

Sorry you didn't get the doc - there will be others.


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## Ned Bouhalassa (Feb 18, 2010)

Very good point about the 'sound'.


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## gsilbers (Feb 18, 2010)

some young filmmakers told me they dont like melody when they look for music. 
more texture i guess cause almost everything has a melody


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## midphase (Feb 18, 2010)

I think it's a bit of an "actor audition" type of mentality, I honestly don't understand why so many roles are cast based on a single 2 minute audition? I have seen great actors turned down because they flubbed the audition, and vice versa crappy actors who nailed the audition turn in not only a bad performance, but also a bad attitude!

I think most producers/directors are poor communicators when it comes to music, and I believe most of them feel out of control when dealing with a composer. This is why if they hear someone nail the pitch cue, they breathe a sigh of relief and go with that person.

On a related note, I'm surprised that anyone makes decisions based on the music anymore...I thought it was all "who-you-know" type of situation for getting gigs...maybe it's different in Canada?


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## Marius Masalar (Feb 18, 2010)

I think what people have said so far is spot on, and I feel for you, Ned...I'm walking into what's looking increasingly like the same situation this Saturday, and I'm uneasy at best. I don't mind writing a spec demo based on a vague-at-best description and bookended with "be creative!", but I have a sneaking suspicion that the decision will not be made on creativity so much as the composer's jackpot ability to creatively put out the exact sound they were after — with the decision being based on that rather than the quality of the work, let alone any past experiences or credentials or testimonials, etc.

What a wonderful world...


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## Ned Bouhalassa (Feb 18, 2010)

Kays,

Sure, having friends (editors, producers) helps you get in the door but, in my experience with bigger gigs, you often still have to convince one or more people (directors, broadcaster) who don't know you, and who most probably never heard your other demo stuff (no time).


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## requiem_aeternam7 (Feb 20, 2010)

Yep..this type of thing ticks me off. I was turned down for a project recently because I scored a 1 minute audition and came up with something a little bit different sounding than they envisioned, yet they gave me no chance to prove how flexible I am in terms of direction, if they had told me more specifically what they're going for I could have revised my pitch and given them exactly what they wanted but instead they basically just chose the composer who got "lucky" first and magically happened to nail the sound they were looking for yet they have no idea whether that composer will do any other scene well, or will again get lucky and nail other stuff or if he was just lucky on the audition and will not respond well to criticism and revision, etc..it's frustrating.


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## Guy Bacos (Feb 20, 2010)

Ned, nothing says the producer didn't make the wrong decision.


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## midphase (Feb 21, 2010)

"I can count at least 3 recent, big contracts that were decided by people who never even met me"

But were you recommended to them by someone or were they totally random gigs that you found out about by chance?


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## JJP (Feb 21, 2010)

kid-surf @ Sun Feb 21 said:


> I'm convinced we creatives should practice our meetings, as we are, at that moment, SALESMEN. Economy of words and the ease at which they are delivered is crucial.
> 
> The guys who are the most well liked, they get the most gigs. It sucks as a creative to have to play this sort of game but I've finally embraced it. I have no choice...
> 
> It's a fine line to walk...We're all actors.



The first part of this is very true and very important. I usually go through a meeting mentally beforehand and try to anticipate questions and think about what I want to get across to a client and why I think they would want to work with me. Years ago I even read some books on sales tactics to try to understand how salesmen approach this type of meeting.

BUT I don't think this sucks at all and I don't see it as acting. I usually press to my clients that they are not hiring my equipment or my demo. They are hiring me, a person with a unique set of skills and vast experience. We are going to be working together, so they must be comfortable with me. They must feel they can trust me, that there will be honesty in our communication, that our goals are complimentary, and they must feel that they will enjoy working with me.

Likewise, I must feel the same about them, or things won't work well. (I have dumped at least one client I couldn't trust.)

So I don't look at this as a game. This is me thinking about how I am going to make sure they clearly see the important items I bring to the table so they and I can make an informed decision. It's more about communicating effectively.

Ned, I'm with you regarding decisions being made based only on a demo with no personal contact. That does suck and shows a certain amount of inexperience or a lack of concern.

FYI: I've never gotten a gig based on a demo alone. It's always been a recommendation or a meeting.


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## Ned Bouhalassa (Feb 22, 2010)

Please note, it wasn't my demo that was used but rather a 1-minute pitch (the opening theme) that I composed based on examples provided by the broadcaster. I did meet one of the producers, so I guess that I could have done even more to seal the deal, but I doubt it, since we had two good, long meetings about the project and to help prepare my pitch. But this was a group decision, and no one else in that room had ever met me.

And Kays, you know how it goes in terms of hierarchy in this biz. Even if everyone in a given production company LOVES you and your music, if some big cheese higher up the chain (the Money, who will never meet you) decides he doesn't like you, or your music, or is at that very moment suffering from heartburn... you're toast. And, IME, your contacts can only push so much in your favour before being bitch-slapped back to their proper place.


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## germancomponist (Feb 22, 2010)

kid-surf @ Mon Feb 22 said:


> First off, sorry you didn't get the gig, Ned. Here's to landing the next!
> 
> Otherwise, I agree with Kays (as usual).
> 
> ...



So true!

We all remember this guy who got all the nicest girls... . :-D

Without joking: You have to sell youself. 

Good post, Kid-surf!


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