Does finding a niche help with finding work?

[bostoncomposer]

Hello there,

I am an aspiring media composer in the Boston area and I have a few questions about finding work in the world of independent media. I should mention that I have a full-time teaching job that grants me a significant amount of free time each year for composing and playing music (about 25 weeks/year). My goal isn’t to move to Hollywood or work on studio films. I love the world of independent film/media and would love to work on projects in that world. I have a professional website with mixed/masters demo tracks and and a matching profile on Instagram. Currently, I am working on networking with short film directors and local college film departments. But, I haven’t found any work yet. Here are my questions:

1) Does it make sense to “niche-down” in terms of genre? This is advice I’ve heard from some people in the independent world as it can be better to have a clear, interesting “sound” rather than be a generic jack-of-all-trades. I have heard that composers can often get pigeon-holed into certain genres so I wonder if it might make sense to set a target at the get-go.

2) Which genres have you found the most work in regarding film/media projects? I see that a lot of low-budget shorts and films are in the horror genre. Do you think there is more work in this genre than others within the low-budget world?

3) Is there much work in the comedy genre? It’s one of my favorites but, from my research, low-budget comedies don’t seem to be very profitable. I wonder if this could make it hard for a composer to find repeat/consistent work.

4) Finally, I wanted to ask if there is any other advice anyone cares to offer to someone in my position. I realize that there are a lot of good threads with advice for aspiring composers but any fresh advice is certainly appreciated. Thank you.

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[JohnG]

Hello there,

Don't listen to anyone's advice too hard, because what works for one composer won't work for another, and because it all changes so fast that trying to follow someone else's path from even a few years ago likely will not work the same way today.

That said.

Meet People

If you live in Boston, go to the cafeteria at one of the many universities there and try to meet theatre or film students or, maybe even better, video game students. Spending endless hours toiling at demos will not get you any work. Graduate students in film sometimes go on to do great things and, even if they don't, you start to get experience dealing with the people who make stories.

More hours spent staring at your DAW or notation paper will not likely move you forward in a career as fast as being "the guy that wrote that cool stuff for George's thesis film."

Be You

Do work on your niche. Many new composers spend enormous effort trying to dash off something in every genre post a reel in which they have "action" "comedy/cartoon" "drama" "horror" -- more or less trying to cover everything.

Two problems arise:

1. Filmmakers or game makers, if you want to work with them, are not looking for warmed-over, generic music. They want something really cool that appeals to them. Except for parody and comedy, if they are looking for genre music, you don't want to work with them anyway, as they likely are making a warmed-over imitation of some film they like, only with amateur actors and no money. Nobody will watch it and if they do, nobody will want to hire the composer who worked on "that pale knockoff short."

2. Most composers don't do a wide range very well -- very often, at least one (or more) genre pieces on a new composers' reel feature tired clichés, poorly executed. Really feeble cartoon music, equally feeble aping of the young person's favourite composer. So don't do that.

So I think you're better off doing what YOU do best, whether that's slide guitar or string quartets or whatever. Sing -- something that is unique to you.

 

[NekujaK]

In my experience (scoring a handful of shorts, a feature, and a couple of features waiting for production to start), getting film work has always been less about the music itself and more about personal interaction with directors.

Director's are looking for collaborators who can help realize their vision. If you show a genuine interest in the director's past work, their current project, and can relate on their level - talking about narrative, story arcs, characters, etc. - then you will likely make a strong and memorable impression.

You're presenting yourself as a composer, so the fact that you can make music is pretty much a given. If the director sees you as someone they might be interested in working with, then they'll want to hear some of your music. But the first step is to establish a personal connection and demonstrate a shared understanding of what they're trying to accomplish.

And always bear in mind, filmmakers are typically not musicians, so musical complexity, innovative chord progressions, counterpoint, aeolian cadences, etc. mean squat to them. The most important thing in film music, or any music for that matter, is emotional impact - be it laughter, sadness, loneliness, heroism, etc. Filmmakers want music that can enhance the emotional content of their film and move audiences. So make that the focus of any discussions about music.

Good luck!

 

[SamC]

Something I find often is, many filmmakers aren’t musical, don’t really know what they want, but what they’re looking for is someone to trust.

Ive had meetings with directors and tv people where they want something “unique” and “fresh,” love my music and ideas, but when it comes down to it, they just go with someone they’ve worked with before, they know personally, or have a few extra credits. Then when I see the final product the music is neither unique nor fresh. That’s when a bit of extra salesmanship comes in, you have to do your best to ensure they can trust you and you are the only one for the job.

I do find that disappointing — especially if I really love the project and feel like I could bring something really special. They go with someone they know, but with all due respect, the chosen composer phones it in.

 

[proggermusic]

Based on my own personal experience, I really think @JohnG nailed it as well as possible. While it really is impossible to give specific advice, since every individual's path in creative fields tends to be unlike any other, the pillars of "Meet People" and "Be You" tend to be universal.

Some of the best advice I ever got while learning from masterful musicians, composers, and improvisers was essentially this: Lean into what makes you weird. Be honest with yourself and ask yourself what you really care about the most, creatively. What really excites and inspires you? No matter how weird. Often, the weirder the better! Develop the hell out of that over a long period of time and get really, really good at it. Something good will come from it.

 

[Calagan]

I'm more or less in the same situation, and as far as I can figure out with the experiences I had, the most important thing ever is what @SamC is saying : trust !

Most people want original and creative stuff, but when choosing the people they work with, it's not about that anymore. It's about "It went well with x last time, so let's stick with it".

It's understandable : a film director doesn't have any control on how the music is going to look. The only thing he or she can do is to choose the composer. And because there's a lot of uncertainty in making a film (and a lot of money potentially wasted), the most reasonable choice is to work with the composer you know, so you know more or less what will go out from that (even if it's not that great).

I think this is what explains the fact most movies are mediocre (because it's the same with any other worker : sound engineer, cameraman, script, fixer, etc. etc.)

So then, the idea is to gain trust among film people, however you manage to do it...

 

[Epic Wonder]

Something I find often is, many filmmakers aren’t musical, don’t really know what they want, but what they’re looking for is someone to trust.

Ive had meetings with directors and tv people where they want something “unique” and “fresh,” love my music and ideas, but when it comes down to it, they just go with someone they’ve worked with before, they know personally, or have a few extra credits. Then when I see the final product the music is neither unique nor fresh. That’s when a bit of extra salesmanship comes in, you have to do your best to ensure they can trust you and you are the only one for the job.

I do find that disappointing — especially if I really love the project and feel like I could bring something really special. They go with someone they know, but with all due respect, the chosen composer phones it in.

Would it be possible to find out who worked on their last project and then collaborate with that person? They could be the main composer and you could get a co-composer credit or something to that effect. I think that working with people who are already successful but who need help would be better than trying to fight your way to the top on your own. To me, it seems that knowing the right people makes all of the difference in creative endeavors. There are a lot of great composers not getting work because they are not connected.