Scoring

=Film Scoring=

==** [] ** == ==** So You Want to be a Film Composer? ** == by Lukas Kendall

Man alive, the number of people who want to be film composers these days... it used to be that when people wanted to be in music, they wanted to be a great pianist or a Broadway songwriter. Then, everybody wanted to be in a band. Now, everyone's //already// in a band, and they want to make money by scoring films. I think it's great that film music is being taken seriously to the point where so many people want to get into it. But like screenwriting or professional athletics, this is a field where the available slots are few, and the hopefuls are many. To that end, here's some helpful advice, and we plan much more of this in FSM (the magazine) in 1998. To start, two tips, from my own personal observations. If you want to be a film composer: So many people, especially young people, want to be film composers because they love big, sweeping, beautiful orchestral romantic music--like the kind John Williams writes! This is a problem in that this is only a tiny fragment of what it is filmmakers are looking for in film score. Keep in mind, I am not talking about John Williams per se-- most directors would give their left nut for him--but the kind of melodic, symphonic score he has done on a specific type of fantasy film. For one thing, John Williams is around 500 times smarter than most anyone reading this, and he can do these types of scores and make them great, instead of bloated and cliched. More practically, only a specific type of movie that requires a //Star Wars// type of score. They're aren't many of them made, and when they are made, they are so expensive that, if John Williams himself isn't hired, James Horner will be. Or Jerry Goldsmith. Or Bruce Broughton. Or around 40 other guys who have tons more experience than you. If you really want to be a film composer, you have to divorce yourself from your 12 year-old dream to score the next //Star Wars// movie, and come up with the kind of sound that will make filmmakers come to you. If you write traditional, symphonic music, you will without a doubt end up working on a lot of lousy, juvenile children's films. But if you can come up with something sophisticated—something dramatic but subtle and contemporary— you can be "typecast" into good movies. Think Thomas Newman, Howard Shore, Rachel Portman, Graeme Revell, Elliot Goldenthal and the newest example, Mychael Danna. These composers write music that isn't necessarily flashy, but gets them consistently employed on high quality product. And from there you'll have a lot more options than you do now. Not to dwell too much on this, but I've met a few aspiring film composers whose personalities are about as fun as a Jehovah's witness at a Halloween party. Almost without exception, the big-time working film composers are also intelligent, likable, trustworthy and fun to be around. They aren't necessarily "party" people, but they radiate a certain confidence and charm that says, "Hire me." They are sensitive, but they don't burden you with their problems. If you really want to do this, you can't be an arrogant, nerdy dullard. Film composing is highly competitive. (First prize: the oldsmobile. Second prize: steak knives. Third prize: you're fired.) You can't afford to be a creep.
 * 1) Don't try to be John Williams.**
 * 2) Put down the jar of paste.**

One note: since this conversation, the film scoring landscape has changed with regard to independent films, in that there is once again a thriving independent market and many of today's most promising composers came out of it-- such as Mychael Danna, John Ottman, and Stephen Endelman. But other than this I don't think anything substantial has changed. Here's Richard: //1. How tough is it to break into film scoring?//** Extremely tough, because there are so few movies made. There are probably six major studios and they make maybe a dozen movies each, so that's not a large pool of films. The number of independent movies being made is substantially less than it was even ten years ago, when there were Cannon Films and New World Pictures and Dino DeLaurentiis, those were a great breeding ground for up and coming talent. But now it's like major films and that's it. Television is not the great minor leagues it once was. If you look at John Williams and Jerry Goldsmith and people like that who cut their teeth in TV, it's not the same type of music being written anymore, there aren't all those great shows like //Twilight Zone//. Plus, there's a kind of snobbery that exists between features and television that I don't think existed back in the '60s. I would skip "various important people" and start with people in a similar "up and coming" spot. Instead of trying to get to Steven Spielberg, I would try to get to the next Steven Spielberg by working on student films, AFI films, UCLA and USC student films and forging relationships with the people who will be the next generation of biggies. Essential. If you want to be in the car making business, you have to be in Detroit. You've got to be where the industry is. One based on knowledge of the project you're sending it out for. If you're going up for a horror movie, there are very few directors who could listen to great music for a love story and make the leap of faith that you would be appropriate for a horror movie. I would make the tape as specific to the project as possible. The better the tape could be, the better it is. It's best to do the "A" version of what you're doing. If you're trying to achieve an orchestral score, use live players. A problem with demos is that the ambition of the music sometimes exceeds the production abilities; it's hard to hear and fill in the blanks of what it's supposed to sound like. You should only have music that sounds like the real thing you're trying to achieve. The time to have an agent is when an agent wants you, when the agent feels he can parlay where you currently are in your career into something bigger. Agents are not set up to break talent in their first one or two movies. It's when there's a small movie that has some interest behind it--a //Sex, Lies and Videotape, Drugstore Cowboy// or//Dead Calm//--that an agent can take you to the next step. It entirely depends on the type of composer you would like to be. The more varied your background the better, because film composing is about being a chameleon, being able to write in different styles to meet the needs of the movie. So the richer your background the better, but I don't think anybody has ever hired a composer based on looking at their degree. I think of the majority of currently successful film composers, their backgrounds are not conservatory training but life music training. Marc Shaiman was Bette Midler's musical director, Danny Elfman had the band Oingo Boingo, Stewart Copeland was from The Police, James Newton Howard was a session player and record producer, and so on. There are two trains of thought. One is, have a job that has nothing to do with your career, just to make money. That way you can just do the job and leave it behind at the end of the day and concentrate on your film scoring career. Or, the best job is like being an orchestrator or a copyist, where it puts you in the situation where you meet people who are working on movies, and you can be a fly on the wall at scoring sessions and absorb all kinds of knowledge and information. Endless. Nowadays, almost all the major music schools have film scoring programs and the interest in being a film composer is at an all time high [cue //Octopussy//]. Besides writing hit songs, film composing is about the only lucrative job for somebody who composes music for a living. Absolutely. It's essential, as a matter of fact. The first few movies you do should be viewed like obtaining tuition to go to college. It's a learning process for you and having done three movies where you've lost money in the process puts you so many steps ahead of having no movies. I don't think it's an either/or. You definitely need to develop your own voice, but also to have an understanding of what other people might want. I wouldn't work on doing an Elmer Bernstein imitation, but if I was doing a movie where they said, "We want the feel of//To Kill a Mockingbird//," I'd need to have an understanding of what that meant so as to interpret it in my own voice. It's helpful to commiserate and to have a support group, but--and again it's not black or white--if I had a choice I'd rather know five directors than five film composers. Well... never say never, but I think a lot of talented people's careers haven't developed as far as they should based on them pissing people off. Specific pathetic stories? How about I give you a positive story: There was a composer several years ago who was in college and wanted to get a job in Hollywood. So what he did was he videotaped the main title sequences of all the Quinn-Martin TV shows, wrote new themes for all of them, got his college orchestra to play his new themes and sent the tape to Quinn-Martin Productions. And of course they're going to look at their own main titles, and they got such a kick out of it, they gave him a chance to write one cue for one episode of some show. They liked it and he ended up on a series. That's a positive story. The pathetic stories all tend to fall into the exact same category: People give up. It's hard. It's hard enough to be a composer, but at the beginning of your career, it's equally important to be a salesman, and that's not really a skill composers have developed. It's like selling any product, it's pounding the pavement and knocking on a lot of doors. It's hard to take the rejection so I think the reason most people don't make it isn't from a lack of talent, because I know there are a lot of really talented people out there, it's because they give up. They don't get this instant gratification and it's so hard to take the rejection that they don't keep it up. Put yourself in the shoes of the person who's hiring you. If you were making a movie, and you got a call from a composer, what would you want to hear? Get out of the brain of a composer and into the brain of the person hiring you. The people who tend to get those first few jobs are the people who make it easy for the person to hire them--by being so willing to do demos, by being available, and by being persistent, because most people aren't. It's a very delicate balance between being persistent and being pushy. Learning to finesse that, that's a real skill to work on. And this is my number one analogy: Every skill that one uses to get a date is the exact same skill one uses to get a job. Both involve seduction, it's identical. If you're a man and wanting to ask a woman out for a first date, how do you do that? How do you present yourself physically, what things do you say, how do you connect with the other person, what's the other person looking for? It's the exact same thing when you're trying to present yourself as a composer. It's a relationship you're trying to get involved in. I don't think there's such a thing as an average one. There are so many factors. Are you talented, are you smart, do you have a good personality, do you know how to work with filmmakers? Someone who has all those ducks in a row has incredibly better odds than a social misfit who writes crappy music. I would say that if you have your act together, write really good music, and have the financial ability and determination to stick it out, the odds are you'll make it, because there are so few people who meet those requirements. Okay, good luck! Tell us what else you'd like to know:MailBag@filmscoremonthly.com
 * //Free Advice from Top Agent--// RICHARD KRAFT** Now for something useful for a change. This was a brief set of questions I put to agent Richard Kraft in August, 1994, for issue #48. Richard represents Danny Elfman, Jerry Goldsmith, Marc Shaiman, Basil Poledouris, John Barry, Elmer Bernstein, Rachel Portman, and several others, so he knows what he's talking about.
 * //2. How can I meet various important people to get myself work?//**
 * //3. Is moving to L.A. or another production center (like New York) really important?//**
 * //4. What's the best kind of demo tape?//**
 * //5. Is it worth it to hire live players for a demo?//**
 * //6. When should I start contacting agents?//**
 * //7. How important is a traditional musical education and being classically trained?//**
 * //8. How can I work on becoming a film composer while simultaneously supporting myself on a job?//**
 * //9. How many aspiring film composers are there?//**
 * //10. Is it worth it to do projects for next to nothing just to get experience?//**
 * //11. Should I try to develop the ability to sound like other composers, or work on developing a unique sound of my own?//**
 * //12. Is it helpful to meet other film composers, established or otherwise?//**
 * //13. Are there any sure-fire ways to piss off people so much that nobody will ever hire me?//**
 * //14. Are there any specific pathetic stories of aspiring film composers you know about?//**
 * //15. What specific piece of advice would you have for getting work?//**
 * //16. Realistically, if I'm an average aspiring film composer, what are my chances?//**

=**Article #2** =

Film Scoring in the Music Classroom James Frankel. //(Copyright 2007 by Penton Media, INC. All rights reserved.)//
 * Music Education Technology**. Overland Park: Nov/Dec 2007. Vol. 5, Iss. 4; pg. 30

One of the most exciting aspects of modern music-production software is the ability to incorporate video. Programs such as Apple //**GarageBand**// '08 and Logic, Cakewalk Sonar Home Studio, Ableton Live, and the popular notation program Sibelius allow users to import video directly into a video track (see Fig. 1). Users can compose music, record dialog, and create Foley effects that sync up with the onscreen action. Students of all ages enjoy the film-scoring experience, and teachers can create projects based on the expertise level of the students and the musical concepts they want their students to learn.

The first step is finding appropriate videos. There are a number of sources of copyright- and royalty-free videos on the Internet; the most popular is the Internet Archive (www.archive.org). The site has many film collections, but with nearly 2,000 copyright- and royalty-free videos, the Prelinger
 * GETTING STARTED**

Archives (www.archive.org/details/prelinger) is the best Do not allow your students to browse the archives unsupervised, as there are videos that are inappropriate for children. For examples of student-friendly clips, visit the Web Examples page at www.metmagazine.com, where I've included two short videos to choose from. In addition to videos found on the Internet, you can import video clips from educationally licensed DVDs using shareware programs such as HandBrake ([] ). This software lets you import chapters from DVDs that can then be edited using software such as Apple's iMovie and Windows Movie Maker. Properly licensed DVDs are available from educational catalogs, but they often cost four or five times as much as home-use titles.

Do not assume it is fair use to utilize a commercial video in a film-scoring project just because it's for educational use or because the clip is short. For example, selling the video project or posting it on a Web site could constitute a copyright violation. Be careful about footage from major motion pictures in particular; due to widespread piracy, film companies constantly monitor the Web and zealously guard their copyrights. Finally, you can use videos shot either by you or by your students. Shooting videos gets the students even more involved in the creative process, because scoring is part of a larger project.

Once you have acquired a video clip for scoring, it is time to import it into the software you are using. Most music programs have a menu option called Import Video. This imports not only the images, but the audio as well. It is up to you whether or not the students have access to the original soundtrack. You might consider stripping the audio from the video clip ahead of time and making the "audio-free" version available to your students so they don't have a preconceived musical notion for their project.
 * THE SCORING BEGINS**

A word of advice about the length of the clips: keep them short - 1 to 2 minutes is plenty of material to work with, at least for beginning projects. Scoring can take quite a few class sessions, so keep it short to ensure student success.

Next, you need to establish guidelines for the project. Will the entire class participate in scoring a single clip, or will you have small groups, or even individuals, each score the same clip in their own way? Or perhaps each group will score a different clip. Then there are requirements for the musical composition, Foley effects, dialog, and so on. When using loop-based software such as //**GarageBand**// '08 or Image Line FL Studio, you need to decide if students will be allowed to utilize loops or the music should be entirely original. More-advanced students might be required to compose original scores, while nonmusicians might be allowed to use loops exclusively. Depending on the amount of time allotted for the project, you might decide to exclude certain aspects of the project, such as dialog or Foley effects. Once guidelines have been established, students need to learn how to sync their compositions to the video. Most programs have a vertical line that marks the audio playback location in relation to the video. Sibelius has a handy feature that creates hitpoints in the score, allowing students to mark where events in the video happen. //**GarageBand**// '08 has a built-in set of Foley effects (see Fig. 3). Using the Loop Browser feature, students can drag effects directly to any point in the audio tracks, making it quite simple to sync the music and sound effects with the action in the video. If students are going to record their own dialog, you need to set aside ample time for script writing. This can be a great way to incorporate the language arts teacher(s) for an interdisciplinary project. Once the script is complete and approved, students can record their voices directly into the project using the computers' built-in microphone, a headset microphone, or a USB microphone, such as the Snowball from Blue Microphones.

After the students have completed their film-scoring project, they can post it to a media-sharing Web site such as TeacherTube (www.teachertube.com; see Fig. 4) or podOmatic (www.podomatic.com) so others can evaluate and critique their finished product. Posting student work on the Internet may have some restrictions in your school district, so be sure to check the Internet usage policy beforehand.
 * READY FOR PRIME TIME**

One of the most exciting aspects of such projects is to see how different the finished videos are. Students always come up with really creative ideas when film scoring. Comparing the work of different groups can lead to wonderful discussions. You might also want to play the original score for the video after all the student work is displayed. Students can compare and contrast their work with the original. If the audio was stripped from the clip, this comparison can be most rewarding in terms of illustrating the process of film scoring and how difficult it can be. THAT'S A WRAP!

Here are a few tips to remember if you are considering incorporating film scoring into your music curriculum. Start small - keep the film clips short. Have the students insert only Foley effects the first time. If the project goes well, consider adding music and dialog next time.

Try to use copyright- and royalty-free clips - you can do more with the finished product if you do. Think about how you will showcase the finished products. If at first you don't succeed (you know the rest).

To ensure that the project is successful for the students, you might consider creating your own film score ahead of time to use as an example. The time spent will help you identify and prepare for aspects of the project that students might find difficult. You might also find yourself getting carried away. Film scoring in the music classroom can be a lot of fun for students and teachers alike.

James Frankel is an instrumental-music teacher at the Franklin Avenue Middle School in Franklin Lakes, New Jersey, and serves as an adjunct faculty member at Teachers College, Columbia University, and at Montclair State University. He is the author of Teaching Classroom Music in the Keyboard Lab (SoundTree, 2003).