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making money with tv and movies ect (pg. 3)
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| DJ RANN |
| quote: | Originally posted by Looney4Clooney
those types of underscores are the worst kind of music to ever have cursed this planet. Just awful. Hollywood churns out some but some of the stuff on TV. Yikes. |
True that. You have no idea how difficult it was working on three seasons of a popular TV show about women living in a cul de sac. I get uncontrollably violent if I just hear the first bar of that theme. |
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| stewart.m |
| quote: | Originally posted by Looney4Clooney
to succeed in that business, you will have to market yourself as well. Everything just gets harder. BaSically I would say if you can't make it in EDM and you gave it a very serious go, you won't really make it anywhere else. It is the easiest niche to get into and succeed. |
well that's the thing i have not really tried to break out in edm but i do see your point it would be a lot easier i guess. i can see making music for the love of it is a great thing but I'm finding it uninteresting to make so you see what I'm getting at.
writing music to films and tv fills that void i guess. |
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| stewart.m |
| quote: | Originally posted by Looney4Clooney
those types of underscores are the worst kind of music to ever have cursed this planet. Just awful. Hollywood churns out some but some of the stuff on TV. Yikes. |
full for the masses ;) |
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| Looney4Clooney |
| you don't get to write what you want if you plan to do films or tv. You don't make tracks and then sell them. You are hired to make something very specific and if your work is rejected early on in your career,well goodbye career. Having a score rejected even as an established composer can knock you back 10 years. It is that finicky. |
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| DJ RANN |
| quote: | Originally posted by Looney4Clooney
you don't get to write what you want if you plan to do films or tv. You don't make tracks and then sell them. You are hired to make something very specific and if your work is rejected early on in your career,well goodbye career. Having a score rejected even as an established composer can knock you back 10 years. It is that finicky. |
True but I've only seen it happen twice, and both times those directors were s.
I know the studio can sometimes knock it back, over the choice of the director, but most directors/producers/studios choose composers based on a certain product they know they're going to get from that composer. Then once they've got the gig, at least from the projects I've been involved in, the scoring process is quite heavily monitored by the director/music supervisor and they give a lot of input (or at least have the score "sold" to them) so they are happy with the end result.
The only other time I've seen it get knocked back was when the composer and director fell out, and the whole project just got messy.
True though about writing specific material for other people - it's basically musical prostitution. You can put some of your own heart in to it, but you're still doing just what the client wants. |
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| Looney4Clooney |
| remember the wolfman debacle ? draaaaama. Don't know the exact details. I know his orchestrator pretty well and he mentioned the studio was being idiotic. THey hired elfmann, got a typical elfmann sound then start to get all hey, maybe we can like make this true blood with vampires and . |
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| DJ RANN |
| quote: | Originally posted by Looney4Clooney
remember the wolfman debacle ? draaaaama. |
Oh . Yep, that was a proper cluster. The studio totally ed that one up though and from what I hear Danny told them to go themselves in the end. Didn't it end up with like 5 guys getting credited for the final score?. Haslinger took a kicking for that one.
You should have seen the debacle around one film - said suddenly realises he hates the score the day they go to dub, after personally supervising the whole thing and tries to get anyone else to re-score it with 11 days before release. Pisses a bunch of people off and studio has to go in to damage control to appease everyone. Director ends up getting a new score done for the Euro release that gets rejected by studio, and pisses the new composer off too. Nothing like hollywood egos to up a score. |
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| stewart.m |
| i think i will just make downtempo music instead:gsmile: cos i dont plan on moving to new york anytime soon unless loony cloony puts me up on the sofa lol just kidding. |
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| Looney4Clooney |
NYC is not really a place to start. It is more competitive than LA for the simple reason that there is less work and since all the major schools are on the east cost, talent. I lucked out. Well luck and knocking on every door very loudly.
LA was/is a nightmare. Way too many douche bags per square inch. |
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| stewart.m |
| quote: | Originally posted by Looney4Clooney
NYC is not really a place to start. It is more competitive than LA for the simple reason that there is less work and since all the major schools are on the east cost, talent. I lucked out. Well luck and knocking on every door very loudly.
LA was/is a nightmare. Way too many douche bags per square inch. |
you get them everywhere plenty here in england to london being were the action is mainly.
but its ing annoying the one thing im good at is so hard to do :rolleyes: |
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| Looney4Clooney |
| but in NYC, people mind their business and stay out of yours. In LA, everyone is trying to make sure you are hip to how happening they are. Nobody will talk to you unless you are a springboard in their career. Really hard to actually make real friends outside of work. |
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| Teezdalien |
| quote: | Originally posted by Looney4Clooney
In LA, everyone is trying to make sure you are hip to how happening they are. Nobody will talk to you unless you are a springboard in their career. Really hard to actually make real friends outside of work. |
This is a lot more widespread than just LA imo. |
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