I still try to tinker with editing in my free time (okay, the free time I steal from other things just to retain some semblance of sanity)
Exactly. You sound a lot like me. And I really enjoyed your complete score CD's. I will be sure to keep in touch with you
Sounds good.
Originally posted by: TroopermanThis is what I've read. Yeah, it is ridiculous what they charge nowadays. That's why it's so important that my work is not only acceptable to these places, but that I receive some major scholarships in order to attend.
From what I understand, if you are truly talented in film, then film school is a huge waste of time and money. If you really are a natural, then you can learn just as much if not more by studying films, watching DVD extras, and reading many books on the subject (which I've been doing). But the idea of going to "film school" seems like a bad idea for me. You get out of school, in a ton of debt (as you said, you only just paid off your student loan), and then where are you? You still have yet to make it, you're out of money, and if you don't make it you're pretty much sunk because you don't have any other marketable skill.
This is why I'm planning to go to the University of Louisville to study music. For a college education, it'll be really cheap (in-state--I'm maybe 20 minutes away from the school) but at the same time, it's a very good music school. So that'll be one less thing to worry about--a huge debt hanging over my head while I'm trying to get work in a ridiculously competitive field.
Originally posted by: TroopermanOriginally posted by: musicman
My primary goal in the realm of film is scoring, though, as I intend for my overall career to be composition. I basically want to be a composer/musician.
Like I said, this was my original idea. Then, I started to look at the facts:
-Incredible competition because it's the only really lucrative musical field nowadays
-No creative freedom- slavery to the temp track and bad directors
-No great films to compose for anymore.
-Only a handful actually make it onto the A-list and compose for big-budget films, at which point they are still stifled by the director, dialed down, and overpowered with sound effects.
Basically, now, it seems like you're just a hired hand. Deviate from the temp track sound and you get replaced by one of the many other composers only too happy to comply. And this would be a really hard thing to take for someone who loves film as much as I do and who hates bad film as much as I do.
This is why you're going to be making the great films!
But, really, I'm sure there's more people like us out there; we just have to find each other--and be very good and very lucky.
I can't see people honestly accepting processed regurgitation for culture indefinitely. I read a relatively recent quote from Brian Setzer where he said (in regard to music in general) something to the effect of, "People just aren't
quite sick of being spoonfed the same stuff over and over." For me, my POV is that I'm aiming for the ideals of the craft, while tempering those ideals with the reality of the negative that is out there. If I can even help contribute to the start of a move back to great culture, I'll be happy--and if it takes some bad experiences to get there, so be it. I really believe my calling is in this arena, though.
Originally posted by: TroopermanSo this is kind of my battleplan (making a big assumption that I am talented enough in music composition and film that schools will really want me):
-Assuming I am accepted with enough money in scholarships, I go to a major university to study music composition (which at the bachelor's level is pretty rare. The departments accept anywhere from 1 to 8 students a year. Usually composition is either a concentration after two years general music, or else it's a masters program). The school I am going to is also one of the very well known film schools. I don't major in film, but I associate with the people in the film department and take film classes on the side if I can.[/quote]
What school are you looking at? This sound good so far. Since I want to compose overall, not just in film, my tentative thought is to get a bachelor's in music composition, and then get my master's in music composition at a school that either has a film school, or is affiliated with one, or is near one, with a mind toward making connections, perhaps scoring some student films, etc. The idea is not to try to score Spielberg's films, but to become friends with and collaborate with the
next Spielberg.
Originally posted by: TroopermanThen....
From what I've read, most people fail in the arts because they are idealistic and they do not understand the economics and the business behind any of it. Maybe it would make sense to then go into music business or entertainment law, not just to understand the business but also because I could fall back on it if I don't make it in film. And the salaries are nothing to sneeze at either. Does this seem logical to Zombie, MTHaslett, and anyone else who knows more about hte business?
I'll tell you one thing here: I recently spoke with our chiropractor's son, who is working towards being a film composer (he's done some small projects), and actually kind of knows Steven Spielberg (I think his mother-in-law is an old college pal of Kate Capshaw). He recommended two books in particular, one being Donald Passman's "All You Need to Know About the Music Business." I have not been able to pick it up yet, but I plan to do so ASAP, along with getting the other book he recommended, Richard Davis's "Complete Guide to Film Scoring." He said the Passman book should be a great way to get a leg up on how the business works, possible careers (which you could use while finding work), etc. Perhaps something to look into.
Originally posted by: TroopermanFor the business or law, I would go to either USC or UCLA and continue to make connections in film and music, taking classes in each outside of my major. Or I could continue to go the film scoring route and take USC's 1-year graduate program for film scoring on the side. And at that point, hopefully opportunities start to present themselves, either in film music or in film itself. I've never, ever heard of a film composer managing to work his way up to director or producer, but maybe it's possible. I know several film editors have made that jump. Maybe film editing is the smartest extension.
Whichever way, it seems like where you go to school is critical because from what I've heard, if you are great at what you do and you attend one of these big schools and take advantage of all the opportunities, you will be infinitely better off than someone that just moves to LA and hopes things will start happening. I guess what I'm saying is that I can't afford to play this haphazardly.
Makes sense.
I can see the passion for film and music. I knew a guy who got his foot in the door, then came back because LA is so crappy. When you move down there to try and get in to the 'biz, don't let the crappiness of the people let you down. That's kinda what's been turning me off to a job in film lately...
Anyway I hope you stick around the forums for a long time, just in case you make the big leagues
Sounds good.
Anyway I hope you stick around the forums for a long time, just in case you make the big leagues 
But that's good. I am determined to finish this, I just know that you all understand I can't just work on this and lose opportunities in real life. I am waiting on a couple recordings from Sluggo and MTHaslett, but that's not the reason this isn't progressing. I'm just busy. 
