Hi everyone, as someone who knows a little about high level agencies and music soundtracks, I thought Id offer my two cents. Composers need to demonstrate 3 things to filmmakers-
1)the ability to add artistic value to a production through music-this goes beyond making money-you have to meet the filmmaking teams artistic vision for the project-always remember that a film is someones baby.
2)the ability to earn the trust and confidence of the filmmaking team so that they know that their investment in your music will assist them in meeting their financial goals for the film-remember, when they purchase music-it is an investment-a calculated risk-that your music will add value to the film that wasn't there before-value that is worth paying for-this value takes a lot of time and experience composing to build up-many composers make the mistake of thinking that they are worth more than they are, or capable of scoring projects that are simply beyond their current scope. That is okay, everyone has to start somewhere, but it takes time to get there. Value is something that most of the time has to be earned and built-credits and past working relationships do this but it is also a general mindset and an approach to conducting business that separates the amateur from the professional.
3)Professionalism-credits and past working relationships do more than show a composer the value of their investment-it shows your dedication to your craft and that in turn demonstrates your commitment to produce great music, meet deadlines and be able to create music that will sound great and work with the production and thats the bottom line.
So, my best tip for composers is to keep shooting high, but set attainable goals and you will get where your hoping to go. Remember as well that just because your music is great, that still doesn't mean you have the necessary career experience to handle a big project. In all honesty, when you do finally get that big project you will be glad you had to work your way up for a couple years. Then you'll have made your mistakes on films where everyone was laid back and could laugh at them, not when say $50,000 is on the line and the producer from company X is threatening to sue/kill you because your computer crashed when you loaded too many vst's and missed the deadline or because you couldn't afford the proper studio to record 13 cellos and now your mix sounds too 'airy' and 'dry'. Working your way up the ropes has its advantages and targeting the specific filmmakers doing projects at the same level as you is the best way to go. Find out who they are and talk to them personally about where you are at. You might just find that they will think its pretty cool you're at the same spot in your career as they are with theirs.
Just a word of advice from an agency guy who sees ALOT of music and hears a lot of filmmaker's frustrations (whether they are making 500$ projects or huge ones!). Feel free to PM me, filmmakers or composers and let me know your thoughts. I hope it helps.
Robert
