While most of my scoring gigs end when the film releases, occasionally I get work to work on a film and part of the way into the project, the stakeholder (director, producer, filmmaker) pulls the plug and decides to go in a 'different direction'.
This is certainly common and happens for various reasons. I have had this happen to me around four times in recent years (out of 30 to 40 projects). Here are some of the reasons.
1. (this happened today after I worked on the score a couple of days full time and was literally 2 to 3 hours away from completion) The director wanted the ability to take any cue I wrote and move it anywhere in the film he wanted to. He was also concerned (though unfounded) that I would not agree to having my cues deleted and that I could not deliver by his deadline (I would have actually been done a few hours ahead of the deadline). Instead of using my score, the director purchased and went with stock/library music.
2. The film was scored three different ways including scoring based on temp tracks. All the versions were rejected. The filmmaker finally decided that they knew my composing style and that my sound would never be 'millennial' enough.
3. The film was half scored when the director decided to go in a different direction and never told me why.
4. The director decided to hire multiple independent composers (after I had already written the end title music) and decide which composer got to score which scenes and cues.
So these situations may have happened to you - or perhaps similar situations. Don't take it personal - it's business. The composer is crew and their participation is contingent on the needs of the senior film executive/filmmaker. Anger by the composer is often a natural response - stay cool. stay professional. You can decide in the future how you would continue your relationship with them/if at all.
As far as the here and now - I have an agreement/contract that stipulates that once I begin to deliver music, regardless of what our ultimate compensation arrangement is (since often I score shorts for little to no compensation), if the film goes in a 'different direction' - I get paid for the music already delivered (whether it is in the film or not).
Hi Joel, out of curiosity, were you still paid for the work you completed? I’m assuming yes...or was it more of a headache to pursue getting paid than to just walk away?
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An interesting question :)
I had a long conversation with a composer friend of mine (arguably the top film composer in Houston) who I consider my mentor. As far as the most recent example (#1) - this is quite common in the industry and something a composer should come to expect especially if they are under a 'work for hire' contract where the production company owns the music. Quite simply, in those situations, the film director can do anything they want to do with the music - use it, not use it, break it into parts, move things around anywhere they like. My mentor reinforced that once we agree to a work for hire paid contract, we compose for our customers and they can do anything they want with it once delivered.
Hopefully, if there is a well defined and hopefully long term relationship, there is a trust between the film stakeholders and the composer that the music is appropriate to where it was sync'd and that it will remain where it was intended by the composer. But again, no guarantees.
If there is no work for hire contract, or the composer retains the rights to the music, then the contract or whatever agreement was made will dictate what control and discretion each party has. There is no single answer, it is whatever is agreed upon.
I like to strive for and work with filmmakers in a long term relationship. I have one in particular whom I have worked on for perhaps 10 projects/films. We don't need anything formal (until he uses me for a feature :) ). He gives me the film, I score it with little to no feedback, and he takes the music as a single file and lays it on a track starting at 0 with no alterations except perhaps some sound level modifications ("keyframe" changes in volume) in spots.
For those I have little to no experience with (especially for those projects/short films I score for free), we have either a formal signed agreement/contract or at least an informal email one agreed to. My agreements always start with everything in it - including the requirement that I have to agree to anything which will break and or otherwise move the music from the location in the film where it was originally scored for. I generally do not object having scored music deleted if the scene is deleted. If a significant amount of scored music is deleted with the scenes left, it eventually becomes the same as not using the music at all and we then agree for my free projects, that I get paid for the unused music.
Again, my contracts and agreements are starting points. Sometimes we need to 'negotiate'. Varies by filmmaker and project.
Thanks for the response! I figured it would probably come down to whatever is in the contract regarding pay. I guess the key is always having thick skin, a good contract, and a good relationship with the director and/or producer.