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A Composer’s Philosophy on Film Music:
by Michael Galvin
Film music’s been said to be based on cliché’s – rolling diminished chords as the damsel in distress is tied to railroad tracks, major tonality when the hero kisses the girl, etc. But this is only part of it, and the music itself merely part of a bigger “it.” Great music starts with the composer discussing with the director and/or filmmaker’s vision of the entire film project. Without their input many wind up with unexpected results.
Great film music can be thematic, tonal, serial, traditional, or contemporary. And the music doesn’t always have to draw attention to it self. Rather, subconsciously heightening the viewer’s emotional connection to the film. Emotion can be implied via dramatic underscore without the use of dialogue or visual cues.
F.A.Q.
How do I get music composed for my film/project?
Film Scoring really encompasses several jobs with the composer being one. In addition there are music editors, music supervisors, arrangers, copyists, orchestrators, studio musicians, midi editors and recording engineers. Depending on the scope of the film and its budget, you may need only one or all of these functions. For example, smaller projects may only require one multi-talented composer who offers an all in one package while a blockbuster feature film requiring a live orchestral score would most likely employ all of the functions above. Another example would be a mid level project with an all in one package where the composer subcontracts an orchestrator and live players.
How much do composers charge?
It really depends on the project size and budget. Other factors may include whether the score requires live orchestra, synth and sample instruments, or a combination of both (hybrid score). Other considerations are the amount of music needed and post production or release deadlines. Payments are usually split up into two or more stages of production (i.e., half of the entire fee on or after the date of hire and the balance upon completion) but can vary quite a bit depending on the situation. In other circumstances, a composer may charge by each minute of music needed for the project. In addition, cue sheets describing music and writer credits are sent to the composer and his performing rights organization(s) when work is aired/distributed/syndicated/sold.
Can’t I just use music from royalty free music libraries?
Sure, but keep in mind unless you’ve got sharp music editing skills (far different from film/video editing), you might spend more time, or worse, less time placing music appropriately, therefore ending up with “square peg in a round hole” syndrome regarding the soundtrack. This music though sometimes well produced, can be a bit vague and not really address the uniqueness and nuance of your project.
The benefits of an original score provide you with a custom made soundtrack that you, the filmmaker, along with the composer have invested in creatively. Music correctly applied to film makes a powerful statement worth many times its initial cost.
What if I offer “for credit only” to a young or inexperienced composer?
This “for credit” option is popular in the entertainment and media/broadcasting fields, but has its pitfalls. With zero compensation a composer is less likely to be motivated to place priority on your project and/or give his or her all. Not to mention de-valuing the profession. You wouldn’t ask a newly minted doctor to perform surgery for credit and experience.
At what stage should the composer start the score?
It can vary, but typically after all footage is shot and cut into a locked “workprint.” This means there are no more or very few film edits before release. The running time of scenes or musical “cues” are important to the composers pacing and precise hitting of dramatic moments. Changes to the film after the music is composed can disrupt previously agreed timelines due to rewrites.
What format should the workprint be in when submitting to the composer?
Digital is the norm these days. Most Filmmakers and editors work in Final Cut Pro or Avid, so exporting the file as a Quicktime video works the best for me although it’s best to check with the composer.
About the Composer & Galvin Music and Sound:
Michael Galvin is a graduate of Berklee College of Music with a degree in Film Scoring. From his early teens to mid twenties Michael performed in several original rock bands as a bassist, keyboardist and co-songwriter. Michael is a multi-instrumentalist competent on piano, bass, guitar, and drums. In addition to composing to picture, he produces, engineers and arranges music for local talent at his project studio in Boston, MA as well as offering audio editing services to the corporate community.
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