Composing : How are you successfully using Stage 32 to network with composers? by Eric Nedelman

it's tough, we're a solitary lot who usually work alone.

I hadn't yet considered networking with composers. Matt is right: we are quite solitary and I think protective of our contacts. But any contact is good contact, right? It can't all be about chasing commissions. Can it?

I agree, Matt. Although many composers like to advertise that they do all styles, I think it's generally true that most of us do some styles better than others. So for me, I can see networking with other composers as a way to help facilitate getting a director or music supervisor what he or she needs. If they come to me and they need a mix of stuff including some things I don't do as well as Eric or Matt, I'm going to call on them if I don't see that my ideas are working. To me it's more important that the director sees that they got what they wanted by coming to me, even if I didn't end up doing everything. Of course, I'll keep broadening my skill set wherever possible, but if the entire project calls for a style that Eric will nail and I know I won't (or worse, make a mess of), you can bet I'll refer that director to him! So although it's probably true that we composers get more mileage out of our contacts with directors and music supervisors and such, I'm always looking to find friends, insights, and complementary skill sets in my networking with other composers. In the long run I think it serves both composers and film makers better. Besides, I can also see the possibility of getting referrals from composers who are further along in their careers and are taking on bigger jobs than I've ever done -- I imagine they catch a few fish that they would otherwise throw back, but instead might toss my way because they've heard my stuff and know I could handle it. Of course we know that's what happens with composer assistants and orchestrators many times.

most of us respond to a particular type of film better than others, that's true. Unfortunately what i've found is that you forget to pass along, most unused projects get shoved back to the originating directors.

at any rate too many cooks in the kitchen is a problem where music is concerned, it is very rare for more than one composer to successfully work on a film at a time.

I agree with Paul. I think that a composer networking with other composers on Stage 32 is important to us as a community. I really hope that composers can work more as a community, rather than isolate ourselves from each other. I prefer to compose to my strengths and to recommend others who have different strengths. All of my scoring is a shared partnership with Derwin White (founder of DKW Musicworks). Matt Toms, I think that networking shouldn’t be all about chasing commissions, but more about making real human connections. To quote the Stage 32 mission statement, “every successful venture requires a collaborative effort.” I am yet to read a success story about networking with composers on Stage 32. I hope some directors and music supervisors will chime in on our discussion too.

I can say I have a success story, albeit from a different web-based music social network. I met another song-writer who did great stuff all on her own, but she was stronger at lyrics, I was stronger at arrangements. We collaborated on a couple of songs, and licensed one of them to the parents of Jackie Evancho, as they responded well to it, and wanted to make it her "signature song". My co-writer and I agreed on many details, disagreed on some ... but there was give and take, and it was always about making the song as effective as possible. So I know it can work. You have to have the right combination of talents and personalities.