Chris Boardman Music Blog: film composer

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Showing posts with label film composer. Show all posts
Showing posts with label film composer. Show all posts

Tuesday, June 9, 2015

Pulling a Homer

How often do we react before thinking about the potential consequences? How often do we say something and then think: Oh what a fool I was?

It’s so easy to fool our selves. Our inner voice is very convincing.

We are creatures of habit and for the most part we react unconsciously.  If we feel threatened we can lapse into defensiveness in a heartbeat. Or, if we’re preoccupied we can easily respond inappropriately.

For anyone who creates there is another wrinkle: we all invest so much of our emotions into the process that we can unconsciously take ownership of the result.

We forget that (as a work for hire) we are providing a service, not creating a product. We are hired for our uniqueness with the understanding that the customer is always right.

And, when you get emotionally invested it is difficult to see past your own point of view. This is when our patterned responses can take over especially when questioned or confronted (defensiveness, frustration, contempt).

This is the make/break point. We can subconsciously shoot ourselves in the foot…and not even know it.

Rules Of Engagement:

To keep from making inappropriate comments the most advantageous policy is to listen without fishing for approval, expecting a specific response or worse yet...waiting to speak.

If there is a problem, step back from your ego and try to understand where you missed the boat.

Our job (as a service provider) is to satisfy our client by applying our expertise to the task at hand. Our satisfaction must come not from approval but from the satisfaction of the client. 

Clarity of purpose, well defined and organized will provide the thread that keeps you on track and your emotions in check.

The challenge is to be present and solely focused on the task at hand. This will allow you to listen objectively.

The good news is that this is not impossible. It’s a skill you can learn and develop with enough practice and commitment.  

Are you up to the challenge?


Friday, August 8, 2014

Vital Collaborations Part 1


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

Part One

It is easy to see successful working relationships. They seem effortless, almost magical.  Have you ever really wondered what makes them work? 

Have you ever been in a situation that didn’t end well? If so, have you ever asked yourself the question: “What did I do to contribute to a less than positive outcome?

All too often we are afraid to address our failures because we won’t like what we see.

When I started doing films I had already established myself as something of a hotshot arranger/orchestrator so I walked in the door with an attitude...self-confident about my musical expertise. Everything seemed to be working fine until I failed miserably on a show and had no idea why or where to turn? And then, I failed again, and again.

This was quite a blow to my ego....expert that I considered myself to be. 

I quickly realized that I had a big problem. 

Failure was not an option so I had to address why I was failing and figure out what I had to do to turn the ship around.

Truth was: I had no idea what I was doing. 

I thought that everyone would just love my music and I would be done. I was the expert. Right?

Wrong. 

In desperation I decided I need to know as much as I could about making movies... that I had to become an expert in moviemaking to continue working....My approach was based on what had worked for me in the past....become the expert and everything would work out fine.  What I didn’t realize was that I was replacing one widget with another. 

What I missed completely was my glaring lack of interpersonal skills.

I would get defensive if criticized
I had no idea how to articulate my position.
I had no conflict management skills. 

I was the expert right?....

Creating media is a collaborative exercise....You need not be the smartest person in the room to be a successful collaborator.
And those that have succeeded have much more than personal expertise to offer. 

I looked to my heroes for guidance.

When I studied the icons of film music, John Williams, Alan Silvestri, Elmer Bernstein, Jerry Goldsmith, Hans Zimmer, it appeared that they were all truly gifted collaborators as well as being musical giants.

If I ever wanted to reach that level of success I had to find out how get some of that “gold dust”....that something special that my idols seemed to exude effortlessly.

What was it they had that I didn’t?

It was obvious these guys had mastered the art of collaboration....but there seemed to be something more that I was missing. 

It was pointed out to me that: 


“we unconsciously sabotage our relationships because we are not aware of how our subconscious behavior affects our actions. In addition, we can be confused about who are and why we do what we do."




Taking an objective personal inventory I discovered that:

I was an expert musician but...

I was terribly insecure
I had no idea how to resolve an argument
I needed constant validation for my work....(the curse of the artist-to have everyone love them).

In this moment of awareness three different topics emerged:

1- Embrace your fear....

2- Focus your attention 

3- Add value 


What does this mean?

Part Two coming soon:


Thursday, March 6, 2014

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".

Thursday, February 13, 2014

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?”

Thursday, February 6, 2014

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!

Wednesday, January 22, 2014

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"