Need to vent about scoring.

gearboy · Post by **gearboy** » Tue Mar 04, 2008 7:54 pm

Or more like ask a simple question: For those that score film, have you ever been given a project that was still in a state of flux, as in the final edit wasn't together, scenes were changing, and you have zero cues on a time line to score to?

I am working on a 12 minute mini documentary and the folks who hired me can't tell me what they want nor can they give me a completed scene to score OR a time-line regarding what music should start where. I've got some ideas but I feel like I will cut my workload in half if I wait to score a finished film. Discussing with the client tomorrow.

Any pointers for a new guy? I feel like I'm staring into space!

Jeff

rdonnelly · Post by **rdonnelly** » Tue Mar 04, 2008 11:53 pm

I'm currently in the middle of a project that's been going on for months... I was hired to score the movie... I've already been paid at this point, because it's been going on for so long... and every week I'm given a different edit of the film... I see where you are coming from... every idea I've written... they have decided doesn't work because of the edits... it's really getting tired... one day I'm sure they will have a full cut of the movie that someone is happy with... but who knows.

anyway... just letting you know you aren't alone.

gearboy · Post by **gearboy** » Wed Mar 05, 2008 9:17 am

I shouldn't complain, as I am really happy to be part of this and it definitely is going to lead to other projects. I've submitted songs for films before, but never scored to film. I just got off the phone with the producer and she totally agrees and understands where I am coming from, so all is cool. Been racking my brain over the cues, though. Having the final cut will definitely help me out tremendously for the middle section. I'm going to guestimate the beginning and end music and edit to fit the final cut, as they are more song oriented pieces. The middle section's music, however, is definitely a case of scoring with synths and beats sounds that need to be in time to the scene changes and really drive that section.

Thanks for listening to me rant!

Jeff

FMiguelez · Post by **FMiguelez** » Wed Mar 05, 2008 8:41 pm

.

Hello, Jeff.

I hear you , man. Sometimes these things can drive you nuts. What has worked for me in the past (but not always), when directors keep editing and reediting the film, is to give them a great 1st version with your music. Compose it and mix it as good as you can. Afterwards, when they send you new cuts of the film, just send them mockups of your work. Just the basic ideas, so you don't waste so much time adjusting and re-adjusting the orchestration and the mix.

The idea is to give them at first a great sounding "demo" that matches their first film version nicely, so they know your music, the pacing, you prove your skills, and they know what to expect from you. Then the other versions are just to give them the general feel of the music that match their edits (these would be your "work copies"), and you can tell them you'll give them the final great sounding version ASA they give you the locked film so you don't waste too much time.

Good luck!!

homebilly · Post by **homebilly** » Thu Mar 06, 2008 9:07 am

don't do s**t until they are finished jerking themselves off!

it sounds like they don't know what they are doing and it WILL make your life miserable if you let them. tell them that you will knock it out of the park...........as soon as there IS a park.

until then have a tailgate in the parking lot. i have been there and will never go there again. it is just a BIG time waster for you.

imagine if you have another project offered to you that pays good dough. you can't even accept it or turn it down because you are in limbo.

stall, stall, stall until they are finished then stall some more because they will still want to change it. you are in more control than you realize. the power to say no and walk is a great position.

my $.02

FMiguelez · Post by **FMiguelez** » Thu Mar 06, 2008 9:24 am

.

The thing is that one always needs to "feel the personalities" of the directors to be able to achieve a balance between flexibility, working under pressure, etc.

Some directors are "divas", and they expect you to follow whatever they need, when they need it, with no whining. If it's a worth-it-gig, then you'll have to accept this. Or, you can establish your rules with some of them. Otherwise, you can always say "Thank you, but no thank you." I am NOT in that position (yet), but after I get to know the directors/producers who give you this kind of trouble, I can know how far I can wait or make them understand.

The worst, to me, is when they explain you what they THINK they want, but say something stupid. The other day this director called me and asked: I need some music like the kind of music you hear when you're in an elevator

Ok. I did it, and of course I was totally off. I later discovered, after working a full day on this, that he just wanted something comic, comedy-like

But we wanted to be musicians, uh?

gearboy · Post by **gearboy** » Thu Mar 06, 2008 9:51 am

"Talking about music is like dancing about architecture."

FMiguelez · Post by **FMiguelez** » Tue Mar 11, 2008 9:05 pm

gearboy wrote:"Talking about music is like dancing about architecture."

Definitely. Another option is the dreaded temp track... but then, as you know, some directors get so married to them that no sound-alike will be alike enough...

Don't worry. You'll make them LOVE your stuff.

Good luck!