  |
|
 |
|
Ten
points to check with a potential Film composer
Compiled by Luisa Anne Miller and Mark Northam |
Directors
and Producers are often apprehensive about music and composers.
Understandably so ! Music,
more than any other part of a production, can be the most abstract
and difficult to describe aspect of a film. Some of the reasons
for this include:
Music is one of the hardest areas in a film or television project
to describe - whether on paper, verbally, or by example. Often the
choice of music and composer is made well after a film is already
shot and edited, when the release or distribution deadline is looming.
With
this in mind, we've developed a checklist of questions that we believe
will help you identify the best composer for your project:
|
| 1.
Is the musical style of the composer compatible with the music needs
of the film? (Hint: Avoid composers who say they can write "in all styles" - composers have their own stylistic strengths - find out what they are and make sure they're compatible with your film!) While listening to demo tapes from composers, remember that you probably won't hear music exactly like what you want for your film. Each film and director is unique, and each cue is written for a specific visual scene. Look for versatility, strength, and a willingness and attitude to create exactly what you want for your film. |
| 2.
What is the motivation of the composer to score your film at this
point in his/her career? Today's composers can be everybody
from the part time hobbyist to the musician looking for day work
to full time professional composers. The motivation (and priorities/
availability) of the composer will play a critical role during the
entire scoring process. |
| 3.
If you're going to use live musicians for the recording, does the
composer have experience writing for, conducting, and working with
live musicians in a scoring environment? Many composers have experience only with electronic (synthesizers and samplers) music and must enlist the services of an entire team of others to write, prepare, and perform music utilizing live musicians. This is one of the major reasons for cost overruns on film scoring projects. Lack of experience with live musicians can create costly and embarrassing problems that are often not discovered until the recording sessions begin. Look for experience and contacts with both union and non union recording procedures depending on the specifics of your project. |
| 4.
Who is actually writing the music? This may seem like a silly
question, but many so-called "composers" actually farm out the work to less experienced students, "assistants", and "ghosts" and then take all the credit for their work. This is an undesirable situation for many reasons, and often results in the "patchwork quilt" score where different parts of the score sound like they were written by different people (they were!) and the actual composers of the music are deprived of their rights, royalties, and credit for their work. (Hint: avoid this situation at all costs!) |
| 5.
Does the composer tend to be "melody oriented" or "texture oriented"?
Composers who tend to write "textural" music, such as ambiences
and music rhythm "beds" are relatively common. This type of music,
while easiest to write, may not provide the emotional strength and
depth your film may require. (Hint: Look for a "melody-oriented"
composer. They are harder to find, but can take your score to a
deeper and more meaningful level.) In most cases, the reason music
is memorable is because it has a strong melody (ex: "Mission:Impossible",
"Dragnet", "Star Wars", "Forest Gump", etc..) |
| 6.
Will the composer provide realistic "demos" or "mock ups" of the
music as the score is being composed so the director or producer
can provide input and modifications before the actual recording
sessions? Providing high quality sampler based demos and mock
ups is now standard for scoring projects. Although the equipment
and time to make these demos is often significant, the expense is
generally well worth it - these demos give the client an idea what
the final music will sound like, allow changes and fixes to be made
well in advance of the final recording sessions, and are more effective
than all the talking or "piano demos" in the world in helping communicate
the musical ideas of the composer to the client. |
7.
Will the composer provide a "package deal" (aka "all-in deal") to
help control costs? What about additional fees for rewrites,
changes, etc.? While a composer may choose to separate his/her creative
fee from production costs including musicians, studio expenses,
and union fees, lower budget projects often have a strict limit
to the music budget. Make sure the composer is willing to work with
you to keep your music costs within budget and that all potential
costs are discussed and agreed upon before a contract is signed.
While there may be a limit to the amount of rewrites and changes
included in the package, it is customary not to charge additional
fees for each change. Demos and mock-ups are the easiest way to
prevent this situation from getting out of hand (see #5 above.)
|
| 8.
Does the composer have enough time and resources to commit to the
project? You as a filmmaker have undoubtedly spent a great deal of time and effort in the making of your film. You have a right to expect the same kind of dedication of time and effort from your composer, and music deadlines often require full time efforts from a composer in order to deliver quality music. Get a commitment of how many hours/days/weeks a composer will personally devote to your project, including time for meetings and review sessions with you. If the composer is using a "team" of others to assist him/her, make sure you clarify how much time the composer himself will actually commit to your project. |
| 9.
How is the composer at working as a "team" player? Creating
a successful film or television project requires an enormous team
effort. While having a healthy ego may be beneficial for a creative
person, an unhealthy ego or other attitude problems can prove to
be a major problem in a team oriented environment, no matter how
talented a composer may be. Make sure your composer can take direction
without "ego damage"! |
| 10.
Are you going to like working closely with this person? The
typical relationship between a composer and director/producer is close and demanding, but can result in a great working relationship that lasts into the future. Is your composer the kind of person you want to work with now and into the future? |
| |
