Process vs. One and Done

Sure. We would all love to win the lottery. Becoming an instant millionaire is certainly seductive especially for those who love a game of chance (odds of winning the Mega Millions Jackpot is 1 in 258,890,850). But would you stake your life on those types of odds?  Would you be prepared for the unintended consequences that a windfall brings?

A vast majority of us succumb to the notion that “if I only had more” then life would be less stressful. In a sense we buy in to the idea that “grabbing the brass ring” is our only way out- our sole ticket to success. Too many times those who are lucky enough to win the lottery are unprepared for what comes next....sometimes squandering their winnings and ending up right back where they started.

Learning to grow

A farmer learns patience because he is a supporter of a process rather than being in control. Seeds are planted in the spring. He nurtures the crop through the year. Along the way he cannot “game the system” or speed it up. He has to allow the process to evolve...one step at a time. In addition he has to accept and be content with what he has control over and what he does not. If he does his job well there will most likely be a crop ready for harvest in the fall. 

And, because they understand the process they can focus their attention on inadvertent events that may sabotage the outcome (weather, disease, resources). Their livelihood is dependent upon being prepared for any unforeseen challenge or situation.

Incremental Success

Steve Jobs is an interesting example. Apple Inc. was famously founded in a garage with an initial order of just 500 hand built computers. The most important part of the Apple story was Jobs was aware of the opportunity that existed and was able to take advantage of it. His view was on the horizon- beyond what was physically before him at the time. Apple then dealt with each challenge as it presented itself to incrementally build Apple into the company it is today. 

If you want to reach any objective define your goal and create a strategy that will enable you to achieve your goal. 

Then- it is up to you to tend the fields and keep your eyes open.

The Curse of Indecision

Do you struggle with making a decisions? Do you drift off into “what if...?” Do you worry about being wrong? About being perfect?

Seems to me that it is all too easy to base decisions on our perception of reality. This makes our decisions susceptible to a variety of influences that can distort the decision making process. When we are faced with making a choice under these circumstances our biases and beliefs can distort the quality of the decisions we make...sometimes with disastrous results...sometimes with more pleasant outcomes. Some times your choices may be well thought out and have no effect on the outcome at all! Choices work or they don’t. Moving forward is about not stopping...not letting fear prevent progress.

When you approach a fork in the road you are forced to make a decision. Right or left. stop or go back. Obviously your choice will send you down a path, each with a different potential outcome.

But how can you decide which road to take?

Clarity of purpose

The best we can do in this situation is to remind ourselves of the purpose we wish to achieve and make our choices accordingly. Without knowing where you want to go and having the commitment to stay the course, chances of success become exactly that: chance. Or in other words: your probability of success becomes random at best. Not good odds at all.

However, once you have made the decision to go in a specific direction, then, and only then can you figure out how to get there and have any chance at success.

Take an architect for example:

An architect is trained to take ideas (for buildings) and make them real. They aren’t in the business of fantasy or “what if”. They apply their craft to execute their ideas using the tools and skills in their personal arsenal.

I’m sure you’re wondering what this has to do with making music? Well, the short answer is: EVERYTHING. 

Writing music is a constant decision making process. The choices are endless. 

So, where to begin? 

You won’t get anywhere if you don’t start walking. 

Commit to your purpose and get going. Move past the fork in the road and see where you end up. Soon enough you’ll find out if you have made a good choice or not. Don’t be afraid of falling off the horse or being ridiculed. Just get back on the horse...and carry on. Just like mastering an instrument or skill, the more you practice the better you’ll become.

Music is art...not open heart surgery. Remember, no one will die if you use one reverb over another. This instrument or that. There is no right answer...it is entirely subjective. And, you can’t control whether or not anyone else will like your work so why worry? 

Being comfortable with the decision making process is the path to releasing your artistic voice. 

This is about your journey and no one else’s. Work with purpose. Be conscious of your choices. Be willing to make mistakes. If you can’t make it past the fork in the road...you’ll never know what you are capable of nor will anyone else.

Vital Collaborations Pt. 4 Create value

(This is an excerpt from a speech I gave at the VizualNow Event July 27th).

Create Value

Great artists spend their lives developing their craft. It is a personal, internal pursuit....an intrinsic pursuit of expertise and competency. 

But what if your expertise is not the real value you bring to a collaborative environment?

Preparing for this talk I did an informal poll of music supervisors and filmmakers. 

To a one they said: Productive working relationships are of equal if not greater value to them than talent or expertise. ... of equal if not greater value than talent or expertise.

At a certain point....expertise is a commodity. There may be tens, hundreds if not thousands of people vying for the same opportunity...with similar expertise. What will make you stand out?

Perhaps... the greatest value you can offer in a collaboration is your ability to work well with others and enhance the performance of those around you?

Making media is a team sport ....you can’t do it alone. 

The great ones are happy to be team player - if the team wins ....they win. 

They leave their ego at the door, roll up their sleeves and just get on with it.

CLOSING

Am I saying that successful collaborations always run smoothly, without problems? Of course not. Strong willed people have strong opinions. There will be disagreements. It’s to be expected....especially in stressful situations.

Am I saying that to be an effective collaborator you should sublimate your opinion, tiptoe through the politics and speak when spoken to? Not at all. You are there because you will add value...because you DO have expertise that is needed.

What I am saying is this:

Those who realize that their self-worth is not dependent upon the words of others...

recognize the value of positive working relationships,  how they enhance the quality of communication...

and vigilantly strive to add value, not only for yourself, but for everyone involved ...

three things will happen:

1- Most likely you will have a positive collaborative experience which will enhance your reputation.

2- You will differentiate yourself from your competition- there is only one of you. 

And finally-

3- you will create a pathway and process that will lead you to a successful, sustainable career.

Thank you.

Vital Collaborations Part 3: Making connections

(This is an excerpt from a speech I gave at the VizualNow Event July 27th).

What is this thing: “charisma” Why is it some people are more popular than others? We’ve all known someone who is a people magnet....people can’t seem to get enough of them. So why is it easy for some  and so difficult for others?

In my experience it all revolves around the ability to connect with others in a deeply personal way. 

Some years back I met Oprah Winfrey. We had a short conversation about both of us working on the Color Purple. What we talked about is not that important. What I remember most about that encounter was the intensity of her attention. When she looked me in the eye I was speechless...she was focusing her entire being on me and it was overwhelming. Honestly, I had to look away....I wasn’t prepared for that. 

We’ve all met intense people...people with a personal agenda who never hesitate to push themselves onto us.

Oprah WAS intense...but it was different. It was as if she was searching, scanning me....to absorb as much about me as she could. She was focusing her ENTIRE ATTENTION.....to see what was in my heart.

Connecting in a conversation is basically an exercise in empathy...listening not with the intent to reply but to absorb everything about the other person....trying to understand what is REALLY being said....not what you THINK is being said.

Most of us listen, waiting for the moment when we can blurt out what we are thinking....when we do we can easily miss the subtext of what is really being said.

It doesn’t matter if you are in line at Starbucks or in this room. 

Looking the person you are speaking with right in the eye...giving them respect by actively paying attention sends a huge message: 

At that moment they are more important than you...the most important thing to you is the next word they say...

This simple yet profound act of connection will pay enormous dividends by creating trust and intimacy.

And Trust...

 is the foundation of ALL sustaining relationships. 

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Vital Collaborations Part 2: Managing your fear

(This is an excerpt from a speech I gave at the VizualNow Event July 27th).

Part 2.

For thousands of years humans have used stories and story-telling to help them accept what they don’t understand. 

We all make up and tell stories about ourselves...which ends up creating a large part of our identity.

And when we perceive our “identity” is under attack we will defend the illusion rather than the reality.

If we are afraid, or uncomfortable it is next to impossible to hide. It will show itself in the words you choose, your facial reactions and your body language. What’s worse is: in a collaborative situation your fear can become the 800 lb. gorilla in the room. Your fear accompanies you wherever you go. And even though you may think you can hide it, those around you will sense it-making accommodations be they subtle or overt. Best case scenario is that the people you are working with will accept your peccadilloes...because what you contribute is of great value. Worst case: you will be let go because you are perceived to be too much trouble.

What is it about my list of successful people that helps them deal with their fears. What is that “gold dust” I was looking for?

It’s not magic....it’s confidence.

Successful people work hard not only on their craft but also on themselves. They practice their interpersonal skills...they meticulously prepare for meetings and collaborations and they understand that without effective communication failure is almost certain.

Think of it this way: 

Filmmakers think and speak in terms of visuals and story...camera angles, lighting, lenses, blocking costumes etc. Composers think in musical terms: melody, rhythm, harmony, sound. If you speak from your expertise you will be speaking a foreign language and the quality of the communication will be poor.

Better to be prepared to establish a common language as a basis for your communications. 

Identifying, understanding and acknowledging what you are afraid of combined with superior preparation will give you the confidence to participate successfully. 

This won’t be lost on your collaborators....because 

confidence is a sign of strength...

and instinctively people will are drawn to strong, positive personalities. 

coming soon:

Part 3 Making connections

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White Oak Sessions #6: "Sunset At The Beach"

There is something magical about sunset at the beach. It always puts me in a reflective mood.

Enjoy!

More music to come soon.

Best,
CB

Monday Musings: Scarcity vs. Abundance-Have we been duped?

Have we all been duped?

A component of 20th century business was the idea that scarcity could be manipulated and controlled. We were also systematically conditioned to respond to cost thus creating artificial  vs. organic value. Prices would rise if the consumer believed that fewer “copies” of that item they desired were available. In some cases this is true. Precious metals such as gold, platinum, silver are finite resources but the people who profit in the entertainment industry are the ones who control access to the item we desire rather than the creator of the product. 

The business of art is nothing more than selling a receptacle (painting, record, photo, movie) that enables the user to trigger their emotional memory. Great art will continue to engender an emotional response not because of the package it comes in...but from the emotional intent captured at the moment of creation.

Where does the desire for art come from? 

With billions of people on the planet it is safe to say that human emotion and our need to be connected is abundant . But the packaging created by a business to expose and create artificial scarcity is not. Good art (packaging) will capture your attention. Great art makes you feel.

Art as a product (a CD, DVD or painting) is physical but its value is derived from the emotion created by engaging with the art. And, the ultimate judge of the value is the user of the art....not the packager of the art. In social media one metric of value is determined by how often a piece of art (or content) is shared which suggests that art is a container of emotional value that is then transmitted from one to another. Sharing online has nothing to do with ownership. It has to do with our inherent human desire to feel connected. Social media platforms monetize access not ownership or distribution of a physical product. Value is judged by the experience created.

The challenge for the artist is not to create the flashiest physical container for their work. The challenge for the artist is to create value in the form of an experience that undeniably taps into the abundant nature of human emotion. People will do the rest...you need not be overly concerned about it.

The basic question for the artist is “where is the value? Packaging or emotion?”

You  be the judge.

Top Ten Myths about being a Film Composer - #5

I don't need to be concerned about the business of music-

You can call me "Schroeder". I spent my youth playing the piano incessantly. I started writing songs when I was about 9. Most every waking hour I had a radio blaring in my head. I couldn't stop it. So, I spent all my time pursuing that which I could not ignore...making music.

Because I had developed skills as a musician and was gifted with talent, opportunities presented themselves and I started working as a musician at 14. By the time I reached college I was a "working musician". Even so, my goal was not to make money. My interest was always to find a way to stay immersed in the process of making music. This desire to led me to find a way to leave college at the first opportunity. It wasn't long before I left school to go on the road. I didn't really care how much they paid me- I probably would have done it for free!

Setting myself up...for disaster.

Fast forward to years later. I had been working steadily for years...not because I had a great business acumen but actually in spite of it. I had an employable skill, was dependable and, for the most part, easy to work with. Things were great- until there was a problem with the business side of things. Because I had not paid attention to "the business of music"  I found myself totally unprepared to deal with problems related to business.

 The constant dilemma for the artistic person is to "balance"their need for expression with the pragmatism required to make a living. In a perfect world I would wake up every morning and joyfully make music all day. "Oh... what a wonderful world it would be."

Unfortunately the business or "your"  business has to be taken care of just like any other responsibility. If you have support staff:  business managers, agents, managers, copyists, programmers, tech support, musicians, accountants, they have to be managed. You must be in control of yourself to be able to manage your working relationships effectively.

A few things to consider:

• Not everyone is a "friend".
• Confide only in those you trust
• Be clear and focused about the job you are asked to do- if you don't understand...ask questions.
• If you are going to subcontract or look for help be "specific" about what you expect from them.
• Use the golden rule with everyone you work with. This is terribly important. Your reputation precedes you. If you rip someone off, sooner or later it will come back to you. Conversely if you treat everyone with respect and integrity you will have more time to spend on music rather then wondering what people are saying about you or how to cover your tracks. This is now more important than ever due to the transparency of the internet.

To manage your team effectively you need to be comfortable with basic business principles such as:

• reading contracts- fine print too!
• understanding the "actual"  roles of all those involved (agents, managers, copyists, etc) and how they relate to one another
• knowing how to budget your time and money.
• understanding the "market value" of the services you provide.

You may be wondering about why business acumen is important? Today not only are we required to be expert musicians- we also have to create and manage a personal "brand". I'll go into branding in a future post.

The takeaway from today's blog should be: understand business to the extent that you can operate effectively with those you work with and take care of yourself in the process.

Don't kid yourself: this is difficult for everyone! 

But- it is not insurmountable.

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!

Monday Musings: How do I compose on demand?

When we start out it is very difficult to figure out how to begin work on a piece. If you are lucky there will be a burst of inspiration. Quite often that is followed by a blank stare. What do I do next? Where do I go? How will I ever finish? It is common and very easy to slip into a depression at this point to where you stop work and never finish.. We all go through this...everyone.

How does one combat this? The key is learning how to approach the process and to learn how you behave in the midst of this process. The better you understand yourself and your process, the better chance you have of being effective.

Once you decide on the original idea....commit to it. This is crucial. Defining your goals in real terms, language etc gives the structure needed to get to the end. I'm reminded of an Igor Stravinsky quote: "the more restrictions I place on myself the freer I become". At first glance this may seem counter-intuitive. In fact, it is just the opposite. Without definition it is impossible for your listener to understand what you are doing. If you look at a great painting, the intent of the artist will be clear. The mystery will come from your interpretation....what you think of the work. Great art provokes a response. Music is no different. Limiting the scope of what you are attempting will train your mind to focus. And, the creative mind will look for ways to take these few symbols or characters and make something new.

Now it is time to go to work. Sitting at the desk is mental exercise...not unlike going to the gym and working out. Instead of lifting weights you will be in a constant problem solving state.

As you work on a piece you will get distracted, stop and start, come back to it another day. You will find no limit to number of distractions you will potentially face. Take a minute and jot your goal down on a piece of paper or index card. Defining your goals, committing to an idea will give you an object to refer to as time passes...reminding you of where you are going.

I'm also a HUGE fan of the idea of getting to the end.  It is impossible to evaluate a work without having something complete to judge. One of the huge advantages of midi is that enables you to switch gears and become an audience instead of a participant. Listening to what you've done with a critical ear...judging your work not from your ego (aren't I cool?) but from an objective and analytical point of view (how does this help me achieve my goal?) is the key to growth.

Steps to take:

Commit to an idea

Limit your possibilities

Define your goals

Putting in the time

Judging your work objectively

Understanding your process and training yourself to think in these terms will move you forward as an artist...if you do the work. That much I can guarantee.

Like any muscle, the more you exercise it, the easier it becomes.

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"