Just starting out?

I can't say I’m an old lag in the film scoring game, but I have some experience, and have learned a lot, often through making mistakes. So here are my thoughts on some things you should consider if you’re just starting out and want to get into film composition.

Do try to hook up with some student film-makers. This one tends to split people. Some say that writing for student films is not a good idea because it’s unlikely that you’ll get paid – which devalues the craft of film composing, and also because you might be working on something amateurish which no one will see. But - if the choice is between working on a student film and working on nothing, it’s a bit of a no-brainer if you’re looking for your first experiences. And it’s not necessarily true that no one will see the film – I know of some that have gone on to be shown at festivals.

If you do try out this route, it’s probably best to email university film departments and offer your services through the main contacts there. But ask about music copyright at the start. Most students will require you to sign a release form giving permission for the music to be used forever in the film, which is fine, but be wary of any agreements that ask you to sign over the copyright for the music over to the student or the film department (“work for hire”). That would limit – if not block – your ability to use the music in different ways later on because, to stress the point, you would not own what you produce.

You never know which student will turn into the next Steven Spielberg, so you might get lucky. But before you agree to write the music for the whole year group, bear in mind that they’re likely to have similar deadlines. Also bear in mind that student film makers are learning as they go, and may not have thought much about the score – so they might look to you for suggestions and guidance more than a more experienced film maker would. And of course, some students are unreliable, don’t get in touch when they should, or leave everything to the last minute. So I would suggest meeting the people you plan to work with, and get to know them a little, and what they’d like from the film. That will give you a good sense of how you could contribute, and how easy it will be to work with them.

Don’t rely on the internet as the only way to get work. Yes, everyone needs some sort of profile, and a place where people can go to listen to what you have to offer, but having a fancy site, loads of SoundCloud favourites and Facebook ‘likes’ are not likely to yield much work. This is partly because, like anyone else, film makers want to interact face to face. It’s also partly because a high proportion of the people clicking on the ‘like’ button aren’t going to be film makers. So think carefully about your audience and how to reach them. The ‘Shooters in the Pub’ groups through Shooting People are a great for this, and an informal way to meet people and get yourself known locally. There are also film festivals, film-making ‘events’, social events organised by professional bodies and so on where you can meet film makers. Find out what’s going on in your local area and get stuck in.

Do network properly. For years I didn’t enjoy networking – it’s just not something I’m naturally comfortable with. But I’ve learned to relax and just be myself. And to be curious - I ask a lot of questions, and pay attention to the replies. This can be exhausting sometimes, especially if the person you’re talking to is in broadcast mode – talking themselves up, making self-aggrandising statements and so on. But at the very least, it can help you decide who you don’t want to work with! And if you find yourself doing all the talking and bigging yourself up – maybe the other person is deciding the same thing for themselves. Don’t forget to follow up connections. You’ll often swap business cards or details, and it’s good to drop people an email shortly afterwards, just to let them know it was good to meet them, and to remind them where to find your music.

Don’t expect people to flock to listen to your latest work of genius. There’s something very satisfying about knowing that people are listening to and maybe even enjoying your music. But posting a link to your tune on a film-making forum, saying, “here’s my latest track” isn’t going to do much on its own. Get involved in the forum, comment on others’ work (and see what others say about it – you could learn something), put forward views, help other people and only then ask for comments on your own work. It’s a community, and you get back what you put in. But be constructive in your own comments, and don’t take it personally if you get some criticism. Get over yourself and pay attention to what they’re saying – they may be making valid points. Again, bear in mind that forum users might not ultimately be the people you want to ‘get at’.

Manage your time effectively. If you spend all your time in online forums and at networking events, when on earth are you going to find time to write your music? You need to keep writing new material in order to get better, but you also need to balance this with making links and finding work. If you are relatively new to all this, you might want to write an initial batch of tracks to prove to yourself that you can do it – and only then go out to network. Or if you already have music on the go, you might do a concentrated block of networking. Find a balance that works for you – but try to find a little time every day to write something. Think of your music-writing skills as a muscle – the more you use them, the stronger they get.

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