On the flip-side, it also happens that they come up with ideas that make your work better.
For some reason I thought "What if this guy is actually Hans Zimmer?!" and the sillyness of that thought made me laugh for 5 minutes straight.Posting this anonymously as I don't want to badmouth in public, but needed a place to vent (...)
You need to just write what the director/producer wants, and leave any type of emotional attachment at the door.....right from the get-go. Remember, it's about their vision, not yours (unfortunately). At the end of the day, we are just work-for-hire, and are a fart in the wind in the big scheme of things. Just enjoy the craft itself. One thing learned early on is that you need a really thick skin if you want to succeed as a composer for film, tv, etc. This a reason I prefer composing for live theatre; to me it's much more organic and there's a lot more breathing room when it comes to creative input.I definitely don't think I'd want to be creating music that I wasn't emotionally engaged with, at least at the early stages, although I recognise that at a certain point I have to let go and that the film-makers are going to do what they think is right.
I've done a ton of shorts, but only three feature-length films.....two of which had cuts/edits even AFTER the declaration of the final cut. It can be very frustrating, especially when the final product has cues that aren't even in sync with what was intended.I have gotten clients that keep sending another locked cut, and another locked cut
I'm 99% sure I know this guy.At one point, the director suggested "And we should probably cut back to a more emotional piano track here", at which point, the editor pulled up my original cue and said "why not this?", to which the director replied "Yeah, that'll work. That's great. Why didn't you want to use that?".
...when people think they know better than the composer...I had an incident while I was scoring a show once. The editor, producer, and I spent several days hashing out how the music for the first five minutes of the show would go, and after working through about ten sketches, we got to a point where we were all happy with the outline of the music, and I got the go ahead to do the final version. The deadline was very tight, so I stayed up until 2AM that night finishing everything up, delivered the mix, and went to bed, ready to move on to the other cues.
The next day, I got an email from the editor saying that the director had reviewed the cut with the music, and suddenly decided he wanted a drastically different direction to both the cut and the music. Less emotional, more comedic, which would involve completely rewriting (and recutting, which meant rewriting while it was being recut) the whole five minutes.
Very frustrated by this, instead of immediately starting work on the intro from scratch again, I decided to take a break from and spend some time working on a different part of the show (with the editor's blessing). It's a good thing I did, because a few hours later, I got another email from the editor saying that the director had come back into the room while he was recutting the intro (again), and started giving yet more contradictory instructions which were now more in line with how the intro was originally cut.
At one point, the director suggested "And we should probably cut back to a more emotional piano track here", at which point, the editor pulled up my original cue and said "why not this?", to which the director replied "Yeah, that'll work. That's great. Why didn't you want to use that?".
What's the story with Johann and BR2049? I really loved Hans and Ben's work on that.