Hello! Earlier this year I filmed a short film titled "The Choice." We originally had a composer on board, but he's been out of contact. I have an email in to him currently, but if he doesn't respond within the next few days, I'll need a new composer. The film is locked down -- we need a composer's...
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Hello All, I've been on the site for several months now, and I've connected with some great people, but I just realized I never formally 'introduced' myself. I'm a composer, musician, sound engineer/designer, and actor with extensive experience in theatre, studio work, and film. Currently, I'm servi...
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Sorry, forgot to mention that I am DYING to do more film score work! Any filmmakers, anywhere on earth (or at least anywhere with internet access), please get in touch with me if you have video/film that needs music!
Has anyone else ever experienced this? Had a job interview yesterday. The job involved setting up a small studio, then assisting with writing and recording some original music for an animated feature film. After listening to some of my samples, reviewing my resume, and chatting for a few minutes, th...
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There is a finite number of chord progressions. That is why you can not copyright a chord progression. In todays world with millions of people writing and recording music, it is almost impossible to NOT sound like someone else somewhere in the world. This is why composing music is so competitive, an...
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100% truth. I've said this exact same thing to many people in the past. There's only twelve notes, and only so many ways of combining them that are actually pleasing to the ear. It's inevitable for th...
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Hadn't even thought about that Alistar ... good point!
These are all very good points, and I hope that Deanna is considering them seriously. For me, the bottom line here is that Stage 32 is supposed to be a "Networking" site. A place where film people can...
Expand commentThese are all very good points, and I hope that Deanna is considering them seriously. For me, the bottom line here is that Stage 32 is supposed to be a "Networking" site. A place where film people can make contact with, and potentially work with, other film people. What's going on with this particular project is that the filmmaker is telling us how she neatly sidestepped all of us. Someone who would go out of their way NOT to find a composer willing to supply appropriate music, either for free or "on spec", is probably doing the same thing with all aspect of her production; and then I have to wonder why they're here at all.
HI Jim...indeed, but no use being bitter....it's just the march of a changing landscape and a general dumbing down brought about by advancing technology and the the internet. I closed my commercial st...
Expand commentHI Jim...indeed, but no use being bitter....it's just the march of a changing landscape and a general dumbing down brought about by advancing technology and the the internet. I closed my commercial studio in London down, almost nine years ago due to falling business, and just went "home studio" for my own personal projects. I also diversified into the online selling of ready made production/library music, but with strict legalities about users needing to fill out cue sheets and with a sliding scale of synch fees depending on the budget and type of the production. We even give away a few free tracks per week, but again with tight regulation regarding reporting and usage in order to at least get back some performance royalties for our composers and ourselves as publisher. And Deanna...if you're still bothering to read any of this......you sure kicked up a storm.....ha ha ha!!!!! Going to have a quick search to see if I can track down your film next.........
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Indeed so Tom, one has to guard against arrogance at all times.........if it starts creeping in the backdoor of your production or into your music then one we end up doing is alienating ourselves from...
Expand commentIndeed so Tom, one has to guard against arrogance at all times.........if it starts creeping in the backdoor of your production or into your music then one we end up doing is alienating ourselves from everybody. Sadly this is what Deanna has done. By cutting out the real composers who may have helped her out hear she has left herself open to attack from yet unseen directions. We all at times need to eat humble pie and just let something go that we thought was of benefit but actually turns out to be a real pain in the ass. But you see its so hard for us as humans to admit that sometimes we made a genuine mistake and just say sorry I screwed this one up but I am willing to give it another try and trust my connections here and many of the great composers here will get behind me and we can all make her project into something really special that has been the outcome of real friendship and collaboration instead of just stealing someone's god given talent and using it for free without having even known them...............this is why Stage 32 really works.........its a place where we can really consider very carefully all our options with other people in the industry and not feel intimidated or threatened in anyway into making a wrong decision based on "dubious" information to say the least. So Deanna in a strange way thank you for bring all this up and laying on the table for all of us to look at. Please do consider all that has been shared here before you make any final decision that may effect the rest of your career.
I had this long reply until I realized this post was from 5 years ago. So I removed the text. Just fyi