Filmmaking / Directing : How can a music composer with 0-4 credits get the attention of a filmmaker? by Joyce Kettering

Run up & down his driveway, naked and with your hair on fire - you'll get his attention for sure. As a Producer, I'd like to hear some of your work to see how it fits m visual concept. So yeah, go score a short for someone - and yeah, when You're starting out, you may have to work for free/cheapo. Sorry, but that's the real truth.

Haha thanks Doug. I'm sure that would get their attention :)

I have no problem working for free when starting out and I realize that's the way it's done BUT considering loooooaaaaaads of composers are offering free music, my question is more along the lines of: how does one stand out from others when offering to work for free?

When music composers are competing for your attention, what makes the most difference?

For example, if you received 100 requests to work with you via email, what would make you open the email (not resorting to spammy tactics) and what would the email have to say for you to actually click on the link to watch the demo reel?

So Doug, I guess I could reformulate like this: how does a music composer land a gig to score their first few shorts?

I would like to hear. Producing a movie about grief

Pay the filmmakers

Do you have a variety of samples of your music available? Reach out to filmmakers and ask they send you a scene for you to score. It's up to you if it's free or paid.

Attend short and feature film festivals, introduce yourself, and offer to send samples of your work. Also, stay in touch with upcoming filmmakers on as many social media sites as possible. Convince them you're a better, cheaper, and more responsive choice than Premium Beat or Music Box. Post trailer and short film samples on Stage 32.

Agree with everybody & especially Erik. Develop relationships with up & coming writers, directors, producers, & film companies. Offer your assistance and be ready with your own appropriate material. I am not a fan of free music, but I will invest in artists & projects that interest me and are beneficial to my career and that of others.

Joyce I've got a short scheduled for November. It's a romantic comedy with a Run Time of about 8 minutes and designed for the American festival circuit. If you're interested, contact me & i'll send the script to ou with a few of my thoughts.

Composers I know post their music on soundcloud or youtube. You will also get exposure. Don't give up!

Way to be Doug!

Oh wow, thanks everyone for your help. I really appreciate it :)

Doug Nelson yes, absolutely. I'd be happy to work on something for you. I'll send you a private message.

Jeanette Johnson- Greenwood you can hear and see some my work over here: https://www.madlassmusic.com/demos

For a movie about grief, this playlist will give you an idea of what I can do: https://soundcloud.com/madlassmusic/sets/melancholic

3 days & no message yet.

Agh, apologies for the delay Doug Nelson ! It's in now :)

In case ya'll are wondering - yeah, I'm gonna give her a shot at it.

Well done Doug.

Wow, that's what I am talking about Joyce got a chance. Congrats!

Doug Nelson and Joyce Kettering - so great to hear about this! Congrats Joyce! That's great of you Doug!

We'll see how it works out.

joyce - ask your question also in the composing forum. I can tell how I am trying to get noticed (I am a fellow composer and not a filmmaker/producer) -

1, Enter competitions. Some years back I started entering the 48 hour film project competition. When one of the films I scored won - a filmmaker came to me and I have scored 7 or 8 films for him personally and this year he referred me to two other filmmakers - both out of town and I scored for them as well. Winning a competition will also get you noticed. This year I won 'best score' at the Houston 48 hour competition and I was nominated for best score at the 168 film festival last weekend in LA (didn't win). The wins and nominations will show up in your IMDB entry.

2. Attend festivals. I scored four films for the 168 festival last weekend and a fifth from a previous showed. I was there networking and handing out demo CDs and made contacts. I don't go to LA that often, but I try to make most of the trip.

3. Network in local professional groups. We have three in Houston, the largest film industry meetup group in the US, Women In Film And TV (I am a male member) and SWAMP (Southwest Alternate Media Project). I go to all the meetings.

4. Buildup your IMDB entry - I have scored 7 short films so far this year and have at least one possibly two lined up so far for later this year - one through the meetup organizer (who is a screenwriter) who referred me to the film maker he wrote the screenplay for and one from the above filmmaker who I have scored for (it will be a horror film competition in two weeks).

5. Get all your music out there. Soundcloud works. I put mine on icompositions.com. Put out complete scores, not just 30 to 60 second abbreviations.

6. Get permission for you to put the shorts out on youtube or vimeo if possible. You can also put out the films in "unlisted" mode if the filmmaker prefers so that only people with links can see it. Get permission to put all your audio scores and all your films on your phone. Keep a pair of headphones (preferably wireless) in your pocket. Then you can show or give a listen to your work at any time. I have an iPhone 7+ with 128 GB to handle the films and music. I keep at least one demo CD in my glove compartment and also have business cards with me at all times.

7. Learn, learn, learn. While you are waiting for your break which will come, keep learning new things and get our of your comfort zone. I take classes at Houston Community College. In one class, which is a composing class, I bring my scores in to get feedback and review. An extra pair of eyes from a music professional is always useful. I also go to a Jazz improvisation class which gives me the ability to write, handout and get played charts of both my music (I write jazz as well - both ensemble and big band) and arrangements of other persons. This also give me access to live musicians who often will be willing to play on a score (especially a short) for little or no money.

Thanks a lot for your answer Joel Irwin. I really appreciate you taking the time to think it through and share this :)

I've been doing 5 & 7 consistently. Definitely can and will work more on 1 through 4 and 6.

Thanks again!

For me, it is about the sample you send and the first few secs of that sample. I always take time to write something about what I am looking for, and I am amazed that often it feels like composers send me the same sample they send hundreds of other people regardless of whether or not it speaks to the description I wrote. I also make a decision if I want to hear more or even speak to them pretty quick based on the first few secs of the track... If there's a slow build up I might wait for it to really start or even skip in a little bit. But I want to hear that they are sending me something in the realm of what I am seeking and over all quality of the track. Sending something that is already mastered is good because if the music sounds too raw it can turn me off before I have really given their skills a chance.

That's a great point Jack Eagen! I sometimes forget the importance of making an impression quickly, blinded by my unreasonable love for a slow build up :) Thanks for reminding me!

Which is hilarious, because when it is just my music playing in the car or head phones I am TOTALLY a slow build up guy.