Filmmaking / Directing : What's your process for finding a composer? by James Doane

Not sure if I have a real process, I build up most of my useful connections through Facebook, then I simply pitch the person through private mail, yes it is aggressive, but that's just how I do it. Got me Holeg Spies for a short script called "On the Verge" he's probably too expensive, and when the money is there, we have to go for someone else. To be short, I guess everybody has his/her own methods.

https://impact50film.com

Thanks Rutger Oosterhoff for the comment!

And what about using readymade production music?

In the past the conversation start with Director and Producers with budget. If there is a studio involved they will want a say.

As a composer I find your method of searching for a composer very interesting. It's funny to know that in the end both composers and film makers don't find a specific one, but I think this platform is great. On Facebook you can find people you already know and often there is the risk of running into people who are not professionals. Often the best method is to search on Google "film composer" and go at least to the third page, since the competition on ads It is led by sites like Fiverr and Upwork. More simply you can search composer here, and above all you have just caught the attention of one of these.

Well, I'm a film and TV music composer and I have quite a few international film and TV music credits.

Just Google my artistic name Sultan Makende or go to my production music site Amazing World Music.

You're welcome James!

My buddy Patrick Wilson has scored my last 3 films. Check him out - https://www.youtube.com/@pcbdesigns

I've often gone onto IMDB to research films that make me feel the intended idea that are within whateever budget I have - micro or legit - and then reach out to the composers. They are a rare breed. Some might not answer for a myriad of reasons. Some may reach back and do it. Making a movie is solving 1,000 problems and a composer who did a film you like can make it 999 problems.

Bensound from France has some great music and an affordable licensing option for independent film.

I like to listen to music they've already done. You know, a good old-fashioned reel is good because every musician has their own unique style. And then once I've listened to it, I ask myself: would this kind of music fit my film? Would this style seem out of place at all? And it helps that I have watched A LOT of films in my life, so I have a pretty good grasp on specifically what I'm looking for.

James Doane It all depends on what type of film ambiance you're going for and how much you have as resources go. I've seen a scene with a single slow cello solo set the mood for the scene and I've heard of directors look for a full orchestra on a low budget horror-comedy film that was already shot but now he's on a crowd funding site trying to raise more money. Not really a good plan for the type of movie he shot.

Now I'm working with limited resources on my film project so I need 1-2 minutes of music in all different mood for background enhancement so I would be either for for free music segments or music segments that a composer was playing around with and is lost in an abstract unused file that he would be willing to part with for some compensation and an IMDB credit. Of course with bigger budgets, one can go with more elaborate compositions.

The most important thing I look for is how well the music matches the footage. A musical score can make or break a scene as using 'I'm Just a Girl' as the background music during a fight sequence in the first Captain Marvel movie. As a composer for film, if you're just creating something, you almost have to be a director yourself and imagine edited footage in your head. All scenes have a pacing to them so if you have a library of music with different tempos from what you've seen in your own mind, you'll cover anybody's needs.

I listen to their music, and if it's a style I like or if they're part of a band I like, then I consider (or rather, imagine considering) it. Prime examples include Tony Banks (Genesis) and Mark Knopfler (Dire Straits).

Yes Alexander, on Facebook there is the risk of running into people who are not professional; that is why I first research people and find out if they are talented producer/director/writer/etc, and fit the specific project. This can take month, even years.

But fact is most of us here on Stage32 are not professionals, including me, that is why we want to surround ourselves with as many pros as possible, to learn from and create.

Hello Rutger.

Personally, I find it very strange that you do not consider yourself a professional given that you already have credits with good budgets. At this point I ask you, in your opinion, what is the line that separates a professional from an amateur/hobbyist?

For me a professional is someone who earns a living through their profession. On a purely psychological level, which is what makes you earn a living, it is maintaining the professional attitude whether you have a small budget or 8 figure project.

Of course I'm not here just to sell my services but also to learn. I'm curious to know your thoughts on this topic which ultimately ties into the search for a composer or, on the other hand, a producer/director.

"At this point I ask you, in your opinion, what is the line that separates a professional from an amateur/hobbyist?" Wow, Alexander, that is a very good question. Good because it's almost impossible to answer. I mean, WHAT DEFINES A PROFESSIONA,L? What minimal toolset must you have acquired to call yourself that? I mean, I can only come up with strong basic film ideas, make a logline and then maybe write a synopsis. Then I gather the most talented people around me to write a script and, as you saw, shoot a few short films. The thing I'm by far the most proud of is the holocaust screenplay that I wrote with Jerel Damon and Sallie Olson. Realise that I myself wrote only 3 or 4 scenes for it, but I edited the heg out of it! Never being satisfied. Took 8 years to get it this far. I guess, in short, I feel an 'integral' part of it's creating process.

But maybe my only real talent is that I have an eye for talent. But take even this with a grain of salt, I mean, the cliche, "beauty is in the eye of the beholder."

For this part "Of course I'm not here just to sell my services but also to learn. I'm curious to know your thoughts on this topic which ultimately ties into the search for a composer or, on the other hand, a producer/director." I guess I have a vision and try to figure out who fits this vision. So talking about Holeg Spies, yes he's a pro, but making Indian music is certainly not his niche; so the question becomes "do I prefer a pro, a name artist, contrary to someone who costs much less money, but could know much more about Indian music?" Complecating it all is that I want to mix different music styles in this Hollywood meets Bollywood short musical. Complicating things, or the exact oposite? So many questions to ask myself and others in the process.

The word "professional" can have many meanings.

I have been a "professional" music composer for most of my adult life and it's through the subsequent royalties that have been generated, that I pay my bills and survive.

However it was my talent (I hope), in this niche music genre, that started the ball rolling, way back in the first season of Sex and the City.

And BTW, I'm still up for doing deals for any low-budget productions, if they catch my fancy.

Creativity is my primary motivation.

Hey Rutger, Thank you for your answer.

Personally, after reading your posts many times I feel that the question of professionalism for you is related to the amount of money a composer can ask for, when, literally, professional and well-placed indian composers in the Indian film industry earn on average $1000/month from some research I did.

It’s as if the topic focuses on perception rather than quality of a job, but I also feel a spark in your post when you talk about your favorite project and especially your talent and for me, as a human being, this is what matters most.

Then I return to the psychological and attitude question, obviously proven by the skills that a professional can have.

There are renowned composers who do not know how to mix a song, for example.

Other composers who can not compose.

It’s hard to find another Ennio Morricone :D

I can find you a flaw for every track in every mainstream movie of the last 10 years.

But is that what makes a professional an amateur?

Even an amateur is wrong and could be better than one placed in the industry.

Maybe just thinking of being what you want to be is what really matters, it seems.

After reading various experiences, taking as case studies even very famous names, I came to the conclusion that maybe, again, it is true that it’s only a matter of attitude.

This, of course, is my point of view.