{"id":4059,"date":"2024-03-07T18:57:51","date_gmt":"2024-03-08T00:57:51","guid":{"rendered":"https:\/\/timcorpus.net\/?p=4059"},"modified":"2024-04-05T13:55:40","modified_gmt":"2024-04-05T18:55:40","slug":"how-to-find-a-film-composer","status":"publish","type":"post","link":"https:\/\/timcorpus.net\/index.php\/2024\/03\/07\/how-to-find-a-film-composer\/","title":{"rendered":"How to Find a Film Composer"},"content":{"rendered":"\n

So you’ve reached post-production of your project, or perhaps you’re a planner and you’re thinking ahead about the sound world for your film. Now you need to find a film composer.<\/span><\/p>\n\n\n\n

First off \ud83c\udf7b, good for you in embracing the idea that sound can help shape your story. A custom score is more than just some sound files within your project. The right score is an additional asset in your toolbox to bring your story to life. The right music for the right moment can completely change a project.<\/strong><\/p>\n\n\n\n

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Sometimes I’m surprised when folks say they \u201ccan’t find a composer\u201d, that’s probably just because I run in many circles with composers that it seems like everyone everywhere is a composer or sound designer. \ud83e\udd23<\/p>\n\n\n\n

But of course this isn’t always the case, and like any niche career path, finding the right person can be a tough task.<\/p>\n\n\n\n

There are a lot of great and talented composers out there who would be thrilled to work with you.<\/p>\n<\/div>\n\n\n\n

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\"first-meeting-of-chicago-media-film-composers-and-lyricists\"
The first meeting of the Chicago Media Composers & Lyricists<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

In founding the Chicago Media Composers & Lyricists<\/em> group with composer Tony Scott-Green, I’ve met so many talented composers and sound designers who love collaborating with Directors. I have found though, that directors and producers are a bit in the dark about how to work with or approach a movie or media composer.<\/p>\n\n\n\n

Here are a few things to keep in mind when you are looking for the right composer for your project. And I\u2019ll emphasize the right composer for the project.<\/strong> Not every composer is right for every project and that’s ok.<\/p>\n\n\n\n

What is the style of music for your film score?<\/h2>\n\n\n\n

Consider the style of music that you want for your project. Not every composer writes in every style (and that\u2019s ok!). Many of us composers write in multiple styles, but our artistic voice is often grounded in a few styles. It\u2019s helpful for you to know what direction you want to take the film.<\/p>\n\n\n\n

Is it jazz, electronic, orchestral, experimental, or popular styles? Or are you open to anything? There\u2019s no wrong answer. Knowing what style you want for the film can help narrow down the right composer for the project.<\/p>\n\n\n\n

If you don\u2019t know what you want,<\/em> start with what you don\u2019t <\/em>want,
that can also be helpful in the process.<\/p><\/blockquote><\/figure>\n\n\n\n

I love getting to compose in various styles. I enjoy the challenge as well as the opportunity to expand my compositional voice. Like any composer, I do have my preferences though. <\/p>\n\n\n\n

Temp music is a sensitive subject, but I don’t think it’s problematic to say, \u201cThis score should achieve something similar to XYZ\u201d. Try to think more about what the music does to the scene, how it makes you feel<\/strong>, as opposed to the specifics of exactly what it sounds like (this leaves space for creativity).<\/p>\n\n\n\n

Sure, you could say \u201chey I want an orchestral score\u201d, but there are a zillion different ways to have an orchestral score. For example, I have a large orchestra piece called The Haunted House <\/em>which is big scary orchestra with synthesizers and sound effects. I also have a tender and adventurous orchestra piece called A Light Divided<\/em> that is only 16 musicians and was recorded at Silent Zoo Studios in Los Angeles<\/a>. They are both orchestra but they sound drastically different.<\/p>\n\n\n\n

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