How do I work with a composer?

Usually you will have an initial meeting to discuss your film and what you are looking for musically. After that, it is good to have what is called a spotting session. This is where you watch your film with your composer and together decide where you think music should go in your film. Following that, you can send your composer a cut of your film. It doesn’t have to be picture-locked at first, but it is most helpful to the composer if scenes don’t change timing too much.

After receiving the film, the composer will then do their work and send it back to you for evaluation. After giving any notes/critiques, the composer will make the necessary changes until you both have a final product you love. If the film is not picture-locked when the composer receives it, the composer can make edits to their music as they receive the new cuts.

I don’t know what kind of music I want, but I want a score.

It is totally ok if you don’t know exactly what you want your score to sound like. Sometimes you can give a short scene of your film to your composer and they can give it their best shot as a trial run. To us, what is most helpful is to use as many non-musical descriptive words as possible such as “exciting,” “pensive,” “nostalgic,” or “menacing.” Non-musical descriptive words help because it allows us to define those words/feelings in our music ourselves and gives us a good starting point.

Another super helpful thing for composers is to give us playlists or movies that match the same vibe as your film. Playlists of songs or other movie scores act as great reference points when we are composing. Giving us movies that inspired you is just as helpful because it gives us an idea of how you may want the music to be implemented in your project.

How long does it take to compose a score for a project?

It depends on the depth of the composition and the length of the film. If the director wants a more ambient score, I could theoretically complete in a few days depending on how much music they want. If it is a more epic or thematic score, or something for animation, this will take much longer.

Fuller scores require a lot more work, as there are many more instruments for which to write. Additionally, the medium of animation is more challenging to score, as oftentimes the music has to be in perfect sync with the fast-paced dynamics of the scene. Animation usually has a lot of points the composer needs to hit. In animations, the characters and voice actors are usually much more expressive and can go through many emotions in one scene. In order to sit properly, the music must follow these same rapid changes. Perfectly syncing the music up with these specific hit points usually takes a lot more time.

What do you charge?

The standard rate is $100/min but rates vary higher or lower based on a few factors including orchestrational depth of music, time frame, and project budget.

Some scoring styles take less time to compose than others. For example, a minimalist, ambient score will take less time than an epic orchestral score. Although a lot of work still goes into ambient scores, oftentimes you are writing for perhaps no more than five instruments at any given time. On the other hand, on some orchestral scores, one could have 20 instruments playing at one time, and that could make the writing process take longer as it requires more work. If the music needs to be done within a short period, this will also increase the rate due to the extra time a composer would need to get it done.

If a project has a music budget, a composer may charge more because they could use that extra budget to hire live musicians. Recording scores live adds a whole other dimension of realism to a score and it makes the music sound much more polished, even if it only consists of a few live instruments. Some composers, like myself, are able to record their own scores live on their primary instruments, which can save time and money.

What is the difference between a soundtrack and a score?

A soundtrack is a collection of preexisting music, whereas a score is music originally composed for the film. Consider Marvel’s Guardians of the Galaxy. Its soundtrack includes any of the songs played in the film such as Hooked on a Feeling, but excludes the orchestral music that plays during battle scenes, for example. The orchestral music that plays during battle scenes would be part of the score but not the soundtrack. Guardians of the Galaxy has both a soundtrack and a score, but some movies only have one or the other.

Why do I need a composer?

While many films can stand on their own without music, having an original score can add a whole new layer of emotional depth. Music is a formidable artform that is able to evoke many emotions. A good score draws the audience further into the film without drawing attention to itself and lets the audience know how to feel in a given moment without being noticed. Scores intensify the emotions on the screen and allow the audience to get more into the movie. Watch any video on how music can change a scene’s meaning (this is one of my favorites). Adding a score to your film is a great way to add that subtle, but powerful, enhancement you need.

How do I choose what composer to work with?

I would recommend a composer whose musical style you like, and one who you feel is qualified to score your film. However, the most important piece of advice for directors is to go with whom you vibe the best and feel the most comfortable around. It will make working with them a lot easier, and it will make the whole process more enjoyable for both parties. I personally do my best work when I am working with a director I get along with. It takes away a lot of stress and makes the process feel less like work.