Article I wrote for SCOREcast...What are you worth?

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bralston
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Article I wrote for SCOREcast...What are you worth?

Post by bralston »

A little article I wrote up on SCOREcast on a topic many composers/creatives should give some thought to.

What Are YOU worth?

Cheers! :wink:
Regards,

Brian Ralston

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Re: Article I wrote for SCOREcast...What are you worth?

Post by MIDI Life Crisis »

Hi Brian,

I'd agree and disagree with you on all of what you said.

Let's start with the Jeopardy Theme allegedly by Merv! While Mr. G took all the credit and royalties, the theme was actually written by Robert Emmett Dolan (1906–1972) for the movie "Murder He Says!"

I only know this because I happened to walk into a theater it was playing in at the TCM LA Festival a few years ago. I was to be in the theater the next day and peeked in for a few minutes to evaluate setup.

It's a very odd scene where Fred MacMurray finds an old woman in bed surrounded by an eerie light and apparently dying. She has like $700,000 dollars hidden away but doesn't want to tell her family where it is - but she'll tell Fred. She asks him for a quilt she made on the chair which he gets. Before he hands it to her, she asks if he can read music (Fred was a sax player in real life). Anyway, he says yes and she directs him to read the music embroidered on the quilt. I was floored! It was the Jeopardy theme - note for note!

How Merv pulled that one off is a mystery unless he paid the composer or publisher (or just owned the publishing company more likely). But I have to get my hands on that film and post it somewhere.

Not dissimilar to the Johnny Carson Tonight Show theme which is actually taken (again, note for note with some rhythmic variation) from Beethoven's Waldstein sonata [where it modulates to E Major marked Dolce e molto e legato.]

What were we talking about?

Oh yeah, composer pricing and such.

To some degree, you are paying for the person and people don't usually like to collaborate with people they don't like to be around. That works in two directions. not just the person doing the hiring.

I think, more importantly, you are paying for a few other things that aren't the "you" and which might help your friend of a friend who wants to be a composer or engineer.

1 - Experience. Someone who has been around the block in a variety of projects, especially when they have had the same clients for many years, might be more desirable than someone with fewer credits, and hence, less experience. References cannot be underestimated.

2 - Skill. Regardless of how much someone likes or isn't particularly fond of someone, if they bring extraordinary skill to a project and that skill is exactly what the project needs, that person is more likely to get the gig than someone with a smaller skill set. Experience in orchestration, conducting, audio editing, etc., is certainly more valuable than someone needing to hire out for those other activities.

3 - Quality. How good are you, really!

So "how much you charge" is certainly what you think you're worth, but only if you evaluate your own worth based on both your skill and experience - not just some arbitrary number pulled out of an orifice (mouth or otherwise).

People starting out with little to no experience (which is how we all start out one way or another) should probably take whatever work they can find - even for free if they have no track record.

Those with a little experience here and there might be lucky to get their expenses covered - or not - and should look to community level projects to gain experience.

If you start to build a track record and a good record of quality work, you'll start to attract better clients, but you do have to pound the pavement a bit. Maybe a lot at first.

Once you've got a decent list of projects and you've decided that "this is for you" at some point you "take the plunge" and start working towards regional and ultimately national and international gigs. By that point, you know exactly what you're worth and what your potential client can, or will, afford.

There is a flip side to this. There will be clients you DO NOT want to work with, yet don't want to say no to and you might "price yourself out" of the gig. Twice that I've done this, the client accepted a ridiculous fee. One I ultimately refused (horrible libretto even with a $30k fee) and one I accepted and it ended up being for a crazy lady - landing us in court! Long story, but i made some money on the deal. Contracts mean everything!

If there is a "secret" to pricing as far as I am concerned, it is this:

How long will it take me to complete the project?

-and-

What is it worth to me to work with these people?

It's not just about fees when you're a composer.

Some projects have the potential for substantial income from broadcast and should be carefully evaluated before saying no, even when the fee and the amount of time to complete the gig is not to your liking.

Other times, the exposure and PR value is an important consideration. Even a "buyout" at a lowish figure can be very worthwhile if it will bring you national or international attention. Again, speaking as a professional, full-time composer for the last 36 years, I am always in the process of career development.

Networking, as I'm sure you know, cannot be stressed too strongly. Interpersonal skills are critical, IMO, and in that sense I do agree with you that you are "selling yourself." What's equally as critical IMO is: How do you honestly evaluate what your public musical "self" is?

It ain't what some people think it is. Sure, if/when you become a household name, you can write your own ticket (or rather, have your agent write it for you) but until then, a brutally honest self-evaluation is the key. And be hard on yourself! Don't sugarcoat a modest accomplishment in your own mind. Play it up (honestly) in your PR, but truly knowing what your skills and experience are and are not, as well as where you fall short is, at least for me, the only way to determine how your fee fits into the project at hand.

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Re: Article I wrote for SCOREcast...What are you worth?

Post by bayswater »

MIDI Life Crisis wrote:Not dissimilar to the Johnny Carson Tonight Show theme which is actually taken (again, note for note with some rhythmic variation) from Beethoven's Waldstein sonata [where it modulates to E Major marked Dolce e molto e legato.]
Didn't Paul Anka get the credit for that?
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Re: Article I wrote for SCOREcast...What are you worth?

Post by MIDI Life Crisis »

He did. But Beethoven built it!
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Re: Article I wrote for SCOREcast...What are you worth?

Post by bayswater »

MIDI Life Crisis wrote:He did. But Beethoven built it!
Who???? :rofl: :rofl: :rofl:
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Re: Article I wrote for SCOREcast...What are you worth?

Post by MIDI Life Crisis »

I suppose that was a joke, I just fail to see the humor. :mumble:
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Re: Article I wrote for SCOREcast...What are you worth?

Post by bralston »

Hey Michael,

I feel that a lot of the things you mentioned are really part of the "ALL of you" that I was intending to refer to. :wink:

I will also say though that more and more...filmmakers and even producers (more often than not the younger ones)...do not really care about experience all that much. I think that is dumb. And a Studio level film will certainly take that into account. But in indie world...where 95% of composers will remain for their entire careers...not so much.

This industry is really a business of relationships. And even nepotism is alive and well. The reasons one gets hired really have so much to do with who you are...what you bring to the table (which does include things you talked about)...and if they trust you and like you. I lost one gig where the director wanted me (and already verbally asked me to score his film)...the producers wanted me....but the financier (exec. Prod)...had a "friend" who he already promised it to. Everyone found this out at the last minute when it was time to draw up the contract. The director was pissed and fought for me for 4 weeks until he could not fight any more. He had to give in and work with a guy he hated working with because his boss would only pay for someone else. And this "friend" of the exec prod. had never scored a film but the exec prod. felt it was the perfect film for him to "get his feet wet". He was a guitarist of his favorite band who has won a grammy and he wanted to get into film scoring now cause he has nothing going on. Never mind that writing songs for an album is 180 degrees different than scoring to picture. And this was not a film with a bunch or nobodies. Indie...yes...but everyone in it was a busy and known actor. Many award winning actors.

I just want people to keep their eye on the ball so to speak. You are the product. Not your music. You don't have to be the best. Write the best music. Have the most experienced. Unfortunately. It is about the whole package. Including your relationships. Which do have so much weight.

Almost all of my films have come from word of mouth. Not from cold calls or demos sent out. But from people recommending me to their friends. And in their recommendation...they almost always describe me, the person...not my music.

You are the product.

:)
Regards,

Brian Ralston

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Re: Article I wrote for SCOREcast...What are you worth?

Post by MIDI Life Crisis »

bralston wrote:
I will also say though that more and more...filmmakers and even producers (more often than not the younger ones)...do not really care about experience all that much.
As I said earlier, Brian, I think we're on the same page. As for those "not caring" about experience, all I can say is it depends on the circles one moves in as well as the other team members. Personally my worst experiences has been working with inexperienced people - especially inexperienced producers and directors. I rarely accept such projects any longer.

As before: it's a two way street and it does appear you and I are on the same avenue in these regards. I hope to plist, rather that actually oppose your article.
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