From certainty to ambiguity?

Using music to move from certainty to being comfortable with ambiguity- is it possible?

Reading between the lines.

Thinking on your feet, creative problem solving, connecting the dots. Whatever the label, it all comes down to the same thing: finding patterns and connectivity between seemingly disparate objects, situations and people.

Jeff Selingo writes convincingly in “The Hottest Job Skill Isn’t A Technical” that the seemingly mysterious quality of being able to “connect the dots” is of high value to employers…much more so than accepting that perfectionism is the surest path to success.

Life is an organism…the quintessential zoetrope. Nothing is perfect.

As composers, songwriters, producers (any creative individual) we are called upon to find unique solutions. Be it the turn of a musical phrase, a lyric, capturing a performance or deliberately choosing a oboe or English horn to play a passage, we constantly make decisions.

How do we make decisions anyway?

We can either be aware of our choices or, we can unconsciously stumble through relying on fear and/or habit. This too is a choice. So, which path is more valuable?

We are conditioned to follow rules. Conformity and common purpose provides the glue that holds us together as a society. But, at what point does compliance become a liability?  

Conformity isn’t necessarily bad. But, unconsciously following rules stifles individual thought, creativity and innovation. 

And, in our pursuit for perfection, adherence to the status quo can lead us away from contemplating and questioning whether or not the status quo is relevant for us… or not.

The older you get the more you see that life is messy, there are no easy answers and, regardless of what you’ve been taught to believe we spend the majority of our time making it up as we go along. We constantly live our lives making choices.

If this is true then why not spend our time improving our decision-making skills?

Why not focus your attention on how to make good choices rather than get swept up in competency being the determining factor of self-worth?

What does any of this have to do with studying music and music creation?

Those of us who have been trained in the arts hold a distinct and powerful advantage over those trained as specialists in a trade.

We are trained to make decisions and to judge the relative value of our choices. We are not exclusively constrained by rules of the status quo.

We continually make it up as we go along…self-determining how far to stretch the “box”.  

For me, the key to making good choices and consistently being able to connect the dots is to be aware and conscious of the choices I make.

And, if you are a creative individual never forget you have the power to choose, the ability to measure the consequences and the inherent courage to make good choices.

It is precisely your connection to creativity that gives you ability to connect the dots…in any situation.

It’s that something special about you that creates value… the unique way you approach problem solving and decision making. 

Step One: the road to better decision-making 

Spend your time listening to your inner voice. Don’t be afraid to dig deep to find out what is special about you…that something you do better than anyone else.

I suspect you will be surprised at what you find.

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What do you REALLY have to offer?

One of the basic tenets of starting a business is determining your USP (unique selling proposition). What makes you different? Why should a customer/client choose you rather than the competition? What value do you offer?

Most artists’ think: “why do I have to worry about this? Doesn’t everyone know how great I am? Can’t they just tell? “I don’t want to worry or even think about marketing/selling myself. I’d rather just do what I do.” And on and on.

It seems as though we’ve been conditioned to think that self-promotion is something that an artist can’t/shouldn’t do. We have been lead to believe we are a pawn in someone else’s game.

Why?

All of the industry’s middlemen (those who profit from and who’s jobs are dependent on the artist) need to justify their existence. And, while it is fair to say that many of the people in these roles (managers, labels, public relations, marketing etc.) are effective and earn their living: why do artists feel the need and pressure to give away control of their careers…and life?

I believe that self-promotion or selling of one’s self is a fact of life and need not be abhorrent or make you feel uncomfortable. All that is required is a shift in your point of view. If you think about it: aren’t you just telling a story? And, wouldn’t you like to ensure that your story is told accurately?

Branding is often a misused word. The goal of branding is to manage expectations and create a connection between the user and the brand. My view is that it is the power of the story you are telling that is the connective tissue between you and your clients/customers/fans.

(For a more about learning how to tell your story consistently: click here)

If your goal is to earn a living being a creative then you first have to own the fact that you are indeed a service provider. Your ability to create is your service (your unique selling proposition). If you don’t believe it then why should anyone else? If you stumble when talking about yourself perhaps your service, role, value is not well defined?

If your first reaction is discount the above then it is entirely possible that you will advance no further than you currently are. Ultimately it is all up to you. No one else is responsible.

The cold hard truth is: most people don’t care.

Think of it like dancing. 

The reason people don't dance is because they think that everyone will be watching them when in fact: everyone is preoccupied with themselves! If you want to get ahead in your career and life get over it. Get out on the dance floor. Like anything else: the more you practice the better you will become.

Take the time to learn how to tell your story effectively and the world will begin to react to you differently…because you will judged/valued by what you present rather than hoping/expecting others to “magically” discover how cool you really are.

As one of the most successful brands in history says: "Just Do It".

Looking Through A Different Lens

Why is it that some people seem to be able to see solutions quicker? Find answers faster? Comprehend complex issues easier?

You can make a compelling argument that this has to do with genetics. True, to an extent. However, the value in this skill is not that you can do it. It’s what you do with it. And, like anything else, with work and dedication you can improve your abilities.

My experience has been that those who see the world differently than others are the ones who put their egos and conditioned responses aside and see life as it is…rather than what they want it to be…or think it should be. This trait is common among highly creative people. Everyone is capable of this…but it requires work…and not the work that you might expect.

We are conditioned to react in specific ways to specific events, people or things. How often do we actually look at our life objectively? How much do we take for granted? How often do we miss the obvious signs and markers that may point us in a different direction?

More importantly: how often do we act upon these seemingly random events?

What I’m trying to say here is that we all judge our current situation by what we have learned and experienced in the past. A good thing when it comes to fire. But, have you ever thought about how your preconditioned responses and prejudices affect the creative risks you take?

To be sure- experience saves time and potential embarrassment. You avoid doing things that don’t work in favor of what you know works. But, if we do not practice objectivity in your creative decision-making process then we all run the risk of taking for granted that only a few correct answers exist to any question or problem(2+2 does not always equal 4 in creative endeavors). Perhaps true…but what about all the other choices that you have ignored?

Objectivity and the ability to measure your results is essential for any creative person. With millions upon millions of people entering the creative class just doing what feels good is no longer good enough nor is there only one answer to any creative problem.

Personally I feel that maintaining my objectivity keeps me fresh and enables me to see new solutions…to seemingly insurmountable obstacles (career, health, personal relationships). Being objective takes longer but if you practice the process speeds up and you will quickly develop confidence in attacking any part of your life that isn’t working.

This is where the creative person has a huge advantage…one worth exploiting to the best of your ability.

For more about creative tips and tricks: http://bit.ly/1RmIwrn

Top Ten Myths about being A Film Composer #1-If I were just like John Williams life would be easy!

Truth be told? Creating a Top Ten List about art is a dubious and pretentious endeavor at best. My goal was to create a format to be able to share my life and experiences in an effort to spur your mind and help you on your way.

Dreams. Goals. Desires....

...we all have them. Maybe you want to be famous? Maybe you want to be rich? Or, maybe you have such passion for the work that all you want to do is to have the opportunity to be engaged in the process of doing it  more regularly.

If I were presumptuous enough to give you advice it would be these two things:

• be yourself!
• never, ever, stop learning

Think about it. There is only one of you. That, by definition, makes you unique. Celebrate and embrace your individuality. This is what will differentiate you from everyone else!  The hardest thing for any artist to do is to understand and be clear about who they are. Give yourself some time for reflection to figure out who you are and what you want to be.

What do I have to do to "make it"?

If there is a "myth" we haven't discussed it would being successful in life (let alone being a film composer) is not a destination to reach. It is a process to engage in! 

There will always be new challenges to face, hurdles to leap and mountains to climb. Embrace these as problems to solve. Remember that very few problems do not have answers....they may just be difficult for you to see. I am very confident that if you are engaged in writing music for film that you are a "creative problem solver". Learn to apply this special skill to everything obstacle you face and I guarantee you will be surprised at the results.

I've talked about branding, marketing and sales...methods to help you reach your goals.

NEWS FLASH!

There are no guarantees in the music business OR life! It may sound trite but remember that expectations not met create disappointments.

• Be engaged in the process without attachment to a specific result.
• Be in the moment rather than dwelling on the past or fantasizing about the future.
• Be kind and generous with everyone you meet...you never know when they will re-emerge in your life.
• Being an artist is a noble endeavor...one that feeds your soul and affects all who listen to your work.

Most of all: enjoy your life!

Top Ten Myths about being A Film Composer #3...The jobs will just come to me!

Who  sells your services?

Your manager? Your agent? Your publisher? Your friends? Sales happen organically...I'm a musician....not a salesperson.

Let me ask you a couple questions: Do you want to be paid for your services? Do you want to make a living by making music? Do you want to be respected for the work you do? Do you believe that you are worth the money you are asking for?

Like it or not if you want to make money at making music you will be much better off if you accept that you are running a business. And, like playing an instrument, the more you practice,  the better you will become.

Here is a dirty little secret:

You have to value yourself before anyone will value you.

What is your elevator pitch?

One of the hardest things for the creative individual to do is to succinctly describe and express who they are and what they want. If I were to ask you: "who are you? what do you want? "how can I help you?" can you answer in 25 words or less?

My attention is the most valuable resource I have. I don't like to waste it. Neither does a potential boss. When you find yourself in a networking situation have your elevator pitch rehearsed and ready to go. It's a sign of respect and competence. It will give you confidence too.

Much like a first date it will be apparent in a couple of minutes whether or not there is any possibility of a good fit. The thing to remember is that timing is everything. Nothing may happen at first...but- if you are successful at making a connection you leave the door open for something in the future. And, you never know, a chance encounter may be the beginning of a lifelong relationship. Be Prepared. Be respectful. Interpersonal skills are a must. I'm sure you know people who seem to effortlessly schmooze with anyone. Let me tell you- it is a skill that can be learned. I've found that listening, paying attention, being attentive are great skills to nurture. Remember: it's not about you. It's about the relationship.

"People work with people they know....who they feel they can have a relationship with.

There are the rare instances when someone will hire you because they "have" to have what you do....but that is the exception. And, even if they did hire you....they still have to get along with you.

How do I improve my networking skills?

Think of it this way- you would never dream of performing in public without practicing first? This holds true with networking too.

• Practice your elevator pitch.
• Ask questions....about them! Most everyone likes to talk about themselves.
• Pay attention- make eye contact, have a firm handsake. Pay them a compliment.
• Focus on how you can help them....not how they can help you.
• Be authentic.

...it's all about making the connection.

How does this get me a job?

Nothing ventured, nothing gained. There a lot of people out there. If you stay within those people you know your opportunities will be limited. And, you just never know where potential opportunities will come from.

Besides- you may not want to work with just anybody.

A successful creative collaboration requires intimacy and trust. It is next to impossible to share those amazing moments of discovery and invention without it.

"I have the artist's disease- I want everyone to love me."

Truth be told I hear "no" more often than I hear "yes". It took me a long time to realize that my self-worth didn't depend on what others thought of me. This is so important let me say it again: my self-worth doesn't depend on what others think.

This gave me the freedom to be myself and just go for it...and risk rejection. And, if someone says "no" then I just remind myself that "I must be talking to the wrong person".

Top Ten Myths of about being a Film Composer #4- "I'm going to be rich!!!

What drives you?

Do you want to make a lot of money?

Do you want to be famous?

Do you crave attention?

What drives you to do what  you do?

Even though I have had my share of success I really don't think about any of that. I chose to be a musician because I couldn't imagine myself doing anything else! Some one once said of me: "You didn't choose music, music chose you". My motivation wasn't derived by anything in the material world. I was obsessed by the process of making music...that was where I wanted to be. Consequently I did everything I could to put myself in situations where I could satisfy that desire. I practiced, I studied incessantly, I listened to music constantly all the while thinking that if I was the best I could be...then that was all I could expect of myself (Thanks Mom!). I kept my standards high...focusing on making the rewards of my journey intrinsic and unaffected by the outside world.

There are no guarantees in life, or in art.

Call it ignorance or naivety...the beauty of being young is that your lack of experience is actually a benefit rather than a detriment. It's easier to take risks simply because you don't know any better!

At 18 I joined a quartet (2 were my high school counselors) that worked a lot doing weddings, parties etc. The third member was a jr. high school band leader. He was one of the most bitter, disillusioned people I had ever met. How did that happen? He didn't have the courage to fail. Rather than risk being rejected or failing he chose to take the "safe" way out. In the process he gave himself a lifetime sentence of self doubt. Poor guy. It just ate him up. At that moment I knew that I would rather fall flat on my face than not know if I was good enough to make a go at being a professional musician. I applied to Cal State Northridge and promptly left the small town I lived in. I figured: "Better to fail spectacularly than to never try".

In my early twenties I was terrified by the prospect of having to make a living in music in the big city. It was my first time away from home. I had no idea how to get a job. I was uncomfortable in social settings. I had no concept of business. I asked my mentor early on one day: "how do I get a job". I was desperately trying to figure it out. His response:

STAY HOME AND GET GOOD!- people will find out about you.

That made absolutely no sense to me at all. Gee thanks!

Even so, I had no reason to doubt him so I accepted his comment and went about my business. I decided to work as hard as I could to be the best I could be and let the chips fall where they may. Soon enough, people started to pay attention and opportunities arose...strictly because of my obsession with being the best I could be. In hindsight I understand the wisdom of his remark. all too well.

It would be easy for me to say that if you followed this advice you'll find success in the music business...that all your dreams will come true. Truth is: no one knows. There is too much that is out of your control.

Success all depends on your definition

Success can be defined in many ways. Looking back at my 43 years as a professional musician, and 53 years as a pianist I can honestly say I am rich beyond words. I have been fortunate enough to know and work with more creative geniuses than I can name. .

Will you be rich and famous? I have no idea. But,

I do know this. 

The first step towards success is to know who you are and why you want to do what you do. For anyone else to be able to understand you, you have to understand this in yourself at a very deep level. AND, be able to articulate it to others.

If you listen to your heart and stay true to what it is telling you it matters not whether you are filthy rich or a pauper. It matters not whether you have fame or live in obscurity. No matter how much money you have, you can't buy peace of mind or a happy heart.

Life happens from the inside out....not by looking outside for validation, self-worth or satisfaction.

So...whatever it is you are dreaming of, just go for it. There is no shame in failing...only in not trying!

Top Ten Myths of about being a Film Composer #6- I'm an artist-I'll decide when to deliver my music"

"How Do I Deal With Deadline Pressure?"

Many moons ago when I first entered into the business I vividly remember being panic-stricken about coming up with ideas on demand. At the same time I knew that if I didn’t meet the deadline I might never get another opportunity. I lived in a constant state of fear and anxiety.  I had stress for breakfast, lunch and dinner.

In hindsight I appears that the anxiousness was due in large part to the fact that I was completely undisciplined and unorganized about my time.  I had no idea how to even approach the problem let alone deal with the situation effectively.

My mentor, Billy Byers, always used to say: “if you sit there long enough it will get done”. He was referring to the fact that most of us would rather be doing ANYTHING but sitting at a desk in a quiet room alone--for 12-16 hours a day. (remember- I started in the business prior to the advent of the PC). Needless to say I endured many, many sleepless nights.

Live TV has to be the most demanding job I can imagine. I would get an assignment on Tuesday for a show that would record on the following Monday and be on the air on Tuesday night. You have to be on your game because there is no time to do any rewrites. There was no time.  And, if I didn’t deliver my reputation would read: doesn’t deliver on time meaning I was unreliable and no one would risk taking a chance on me. I couldn’t afford for that to happen.

What did I do?

I learned how to divide the number of score pages (or minutes if I was composing) into the days available to create a benchmark of how much I had to complete each day to stay on schedule. For example: I have 10 days to a session or deliver for a final mix. If I have 40 minutes of music to deliver that means I have to do 4 minutes a day to make my deadline. If it were an orchestration I would divide the number of days by the number of pages and then create an excel doc to keep track of all the details. I became a slave to my spreadsheet.  I made a video about this that you can see on youtube.

The 15-Minute Deadline.

Back in the day I would write through the night to have music ready for pick up first thing in the morning. I would keep a small TV on my desk to keep me company and help remind me of the passage of time. I didn’t want to get “the stares”.  Did you know that you can fall asleep with your eyes open?  Many times the end credit music would wake me up on the hour.

When I really got stuck I would arbitrarily mark up the sketch into increments I felt I could accomplish in 15 minutes. That way I could kick myself in the butt if the alarm went off and I wasn’t keeping up.

I only used that in extreme cases. Whenever I had to do an all-nighter it proved to be very effective.

The point is this: to keep your sanity, maintain your health and relationships I strongly suggest learning how to be disciplined about how you spend your time. You can thank me later. :)

Coming up next: “Oh Great! I have to deliver on time AND BE BRILLIANT?”

Top Ten Myths about being A Film Composer #7

I don't have to worry about technique

Let me ask you: Have you every tried to build anything? Have you ever tried to put something together without reading directions? Have you ever cheated on a test or tried to get some one to do homework for you?

Let's say you wanted to build a simple box out of wood. Sounds simple enough. But, if you look a little deeper there are many, many  things you need to do to successfully build a square box out of raw wood. First you need a design with dimensions. Then you will need to figure out how to purchase the wood and what kind wood you want. Then you will have to cut the wood to size. Assembly is next followed by the application of paint, varnish or sealer. Building a box from scratch out of wood requires expertise (or at least working knowledge) of many tasks. If you are a carpenter for hire there is another dynamic to consider: you are building this box to suit some one else's taste!

Odd analogy?

This is not as crazy as it may sound.

Consider this:

Direction (what type of score does the director want) = Design

Budgeting for production/ instrumentation = What type of wood do you want?

Writing cues that fit the film = cutting the wood to size

Recording your score = assembly

Mixing = applying the finishing touches

Dream on....

I meet a lot of songwriters and entry level composers. Invariably when they find out I'm a film composer their eyes drift off as they daydream about hearing their music in film, darkened rooms, tv etc. Internally I chuckle because they have no idea what is actually entailed. If they only knew.

There is very little glamour in being a film composer. It's just a lot of hard work.

Unfortunately the only way to survive in this business is to have a deep seated passion for it. I always say: "the only thing that will keep you company at 3am while working on deadline is your passion for what you are doing".

So much to know...so little time.

The truth of the matter is that to be a good if not great composer requires a lifetime of learning and maturing. It never ends. Therein lies the attraction for me...every day is different. As a creative person this is why I can't wait to get out of bed in the morning.

Of course there are the obvious musical and technical disciplines to be aware of. Add learning about relationships, networking and people to the list. Networking skills will carry you as far if not further than any musical chops you may have.

The 80's were boom times. There was so much work that it became acceptable for less than competent  composers to be hired to score films. If you needed help there was enough money to hire a support staff.

Times have changed.

As fees continue to slide it is more important than ever to become the best you can be. From a purely selfish, pragmatic point of view: the more hats you can wear....the more money will stay in your pocket.

From an emotional point of view....there seems to be a direct relationship between knowledge and anxiety. The more you know the more comfortable you will be in every part of the process.

From a creative point of view....if you embrace learning as a lifetime endeavor you will never be bored. There will always something new to learn. I promise you: your life will never be boring!

TOP TEN MYTHS ABOUT BEING A FILM COMPOSER- #9

9. “ All I have to do is write wonderful music and I will be a success”

I think it would safe to say that if you are reading this you have a passion for music. More than likely I wouldn’t be surprised if you spent large amounts of time pursuing your passion. Some might describe it as an addiction, a compulsion, or worse. They are most likely correct in their assumption. Not to worry- to achieve your goals all of these attributes are needed and more.

You might be prone to sitting at the piano, composing or improvising-- envisioning your music being heard in a darkened room with hundreds of people sitting in rapt attention. There is nothing wrong with that either.

Undoubtedly there are some of you who have a healthy ego and believe that your musical skills are well suited to the task. You’ve studied Mozart, Beethoven, Mahler, Strauss, Ravel, Debussy, Stravinsky and more. You’ve also are fanatic about the latest scores from James Horner, John Williams, James Newton Howard etc etc.

You’ve also done your homework regarding popular music. You understand pop, rock, rap, rave, electronica. I imagine you are a programming whiz...highly adept at making samples and sequences rock.

All of what I’ve described above are pre-requisites for a career in film music.

But, and this is a big but, most of this really doesn’t matter to a film director.

Did you hear me? …it doesn’t matter.

They may appreciate your expertise but at the end of the day all they will truly care about is whether or not you can deliver a score that will help their movie be successful.

Directors, in my experience, are single-minded people.

From the moment they begin a project they are, and have to be, consumed with their movie. Directors not only have to answer to studios, investors etc.,hey constantly have to manage everyone who is involved in the process. Can you imagine being asked questions from everyone you see 24/7? I can’t imagine being in that position…it has to be exhausting.

Why is all of this relevant to the statement above?

Music is only one part of the process of making movies. In a sense you are part of a hierarchy that includes, actors, production designers, cinematographers, writers, producers, lighting designers, costumers, editors, dubbing mixers, adr engineers, gaffers, best boys, etc.

Important points to remember:

Understand your place

Be prepared (know the story, the cut, each character, their back story if possible)

Listen-

Learn how to communicate effectively (more on that in subsequent posts)

Above all- don’t waste your director’s time. Time is their most important asset.

Being talented enough to be able to write wonderful music is a given. It may even get you a meeting.

Being talented will only take you so far.

Acknowledgement and understanding of what I’ve said above will be needed if you want to create a career as a film composer.

Coming next: #8- "I'm the composer- I'll write what I think is best"