ka00
Patent Pending
This seems like the best advice anyone under 25, without kids and a mortgage could hear about how to work as a film composer. There’s even a shout-out to vi-control:
I must say, I find it really sad, that the more time passes, composers keep telling you more and more, being a film music composer is not really about being a good composer ... it is more about opressing your ego an personality up to the point that you probably forget who you are and nurture you relationships with some pathetic people in the film business, who actually should rather seek a psychiatrist (my interpretation of what he said, to be honest!).
I guess, there have always been those people in important positions in the film business, who did not lack ego, but missed any kind of professional judgement. But I think, those numbers have grown quite a bit in our times. We have just grown used to the fact, that it is kind of normal to see people acquiring power and/or money without any kind of competence that makes it feel like they deserved it. Our times are more then ever filled with those folks, I am afraid.
I must say, I find it really sad, that the more time passes, composers keep telling you more and more, being a film music composer is not really about being a good composer ... it is more about opressing your ego an personality up to the point that you probably forget who you are and nurture you relationships with some pathetic people in the film business, who actually should rather seek a psychiatrist (my interpretation of what he said, to be honest!).
I guess, there have always been those people in important positions in the film business, who did not lack ego, but missed any kind of professional judgement. But I think, those numbers have grown quite a bit in our times. We have just grown used to the fact, that it is kind of normal to see people acquiring power and/or money without any kind of competence that makes it feel like they deserved it. Our times are more then ever filled with those folks, I am afraid.
It is of course futile to discuss this without exactly knowing from an individual case where someone is taking back his/her ego and where he/she might demand being taken serious as a strong creative voice for the creation of a film. Of course there are cases, where a composer might be overwhelmed by his ego and therefore not be able to work within a film, which is a collaborative art form. There are two very distinguishable types of people working these positions (the same goes for directors and other important positions as well). There are those who do everything with a strong service aspect in mind. If you follow though with this philosophy, it is not wise to invest to much emotionally into anything, because that might destroy you.I find a lot of people do say that but I think there becomes where someones ego might come back. Or maybe ego is the wrong word, people will respect your opinions/thoughts more. Whereas when you're starting you have to sort of please everyone so you can build up your contacts and get a name for yourself as someone who works well with other people etc
Because I don't think that is true. If you merely try to enforce someones else's wishes or visions, you will never create art. That does not mean, if you do everything will be great. But from time to time, there will be truly great pictures. Some will be truly great although certain aspects (like the music) are not stellar - just acceptable. The chances of a movie becoming exceptional rise with its single parts being exceptional. A composer giving in to the idea of service fully, will never create exceptional music IMO.but why do you find it sad? i think its a case of just realizing we are not at the top of the food chain when it comes to the movie business and mostly the composer is there to serve the vision of others.
I must say, I find it really sad, that the more time passes, composers keep telling you more and more, being a film music composer is not really about being a good composer
There is no doubt, that this list describes very well how to get a chance of becoming successful these days. But it reads to me like a "how to become a perfect soldier".Okay, my reply is possibly going to be very controversial as I've never worked professionally as a composer, so take this with a grain of salt, but what I took away from this video is that to work as a Hollywood film composer you need to:
1. Have no dependents or major financial obligations initially, and be willing to spend your 20s earning very little while you try to advance your career to the next phase.
2. While still young, get good at composing, but don't think you need to be Beethoven, because creating an amazing and ornate standalone piece of music is not quite what's called for.
3. Be outgoing and resourceful enough to connect with and convince a composer who is busy working in the industry that you'd be a good assistant.
4. (Now that you got the assistant gig) be a great assistant; solve problems for your composer, be pleasant and nice to be around, work long hours, write music for the composer as needed to show you can and can be reliable and work under deadlines.
5. While in the room, pay attention to how this composer operates, deals with people, handles pressure, handles crucial conversations, handles business deals, etc.
6. Hope the composer is too busy to do a particular project or two and which they aren't going to turn down but are going to get you to write and they will critique and approve and probably you will be a ghostwriter and they will be credited, but hey, you're making progress.
7. Now maybe you'll get an opportunity to be a credited co-writer with that composer and you're now building some verifiable IMDB credits and are essentially being vouched for and vetted by the big time composer, graduating to composing under your own name.
8. Finally, work directly with clients (directors, producers, studio, etc) and be a joy and pleasure to work with, interpret what they're asking of you, etc. Be charming, work to tight deadlines, etc.
9. Now that you are a name on a list of working composers always take the jobs that you're offered, or else they'll just go to someone else (who'll potentially be farming it out to their apprentices if they're to busy themselves), and if you can't handle the work load, well, it's time you got your own assistants to help you too. And the cycle continues.
I'm thinking if you don't follow these steps or have problems doing any of them (because it doesn't match your personality, your age, your financial needs, your geographical location, and any other life situation perhaps...), or if anything else is preventing you from doing these things, you should find another outlet for your music and another way to make money then aiming for A-list film projects.
I could be totally off, so the real pros (or their assistants) can chime in.
Stuff like “Arrival” is on the artistic/creative side of scoring fence?
There is no doubt, that this list describes very well how to get a chance of becoming successful these days. But it reads to me like a "how to become a perfect soldier".