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"

Learn To Be Objective About Your Work

If you are actively engaged in creative endeavors most likely you will have a trusted circle of friends that you bounce ideas off of. This can be rewarding but tricky. While we all look to others for support, never underestimate how your relationship will impact the feedback. Learning to be objective about your work will allow you to measure your progress by yourself and not be completely reliant on the judgement of others.

1. BE CLEAR ABOUT YOUR GOAL

If you don't know where you are going....you will have no idea if you have achieved your objective or not. Define your goal in simple terms. When my friend George Gallo directs a film he creates a catchphrase to help him stay on track. Write it down. Keep it handy so you will be able to refer to it through your creative process.

2. KNOW YOUR PROCESS

Everyone approaches being creative differently. The trick is to learn about your process so that you can easily recreate it...on demand. If you look at professional athletes who are called upon to perform in high pressure situations (free throws, putting in golf, batters, pitchers etc.) you will notice that they all have a pre-shot routine. Develop your own pre-shot routine. And ...STICK TO IT.

3. FOCUS YOUR ATTENTION

Bill Clinton has said that what made Steve Jobs unique was his ability to concentrate. Being creative demands your full and undivided attention. Use your pre-shot routine to set the stage to give your work your all.

4. GET TO THE END

Ideas and indecision are the enemies of completion. Commit to an idea and FINISH. If you keep it all in your head your brilliant idea is nothing more than a marble ping-ponging in your head and...is completely worthless. You are an audience of one. The only way you can be objective about your work is to get it out of your body. Art (and creative ideas) are a snapshot of a moment in time. It will never be the same. And, you will perceive it differently every time you look at it.

5. THE ROLE OF PARTICIPANT AND OBSERVER

Now that you have completed your thought you will be able to switch your focus from being in the moment and "I'm a genius" to being an audience of the work. It is now the work....not your possession. Making this shift enables you to be objective. Some days you will be a genius...other days you will get depressed....(Why did I do THAT!!!). Adopting the role of observer will allow you to measure your progress...BEFORE you launch your work into the world.

Training yourself to be objective about your own work is an essential quality for the artist/creator. It's not as hard as it seems...if....you are willing to do the work.