{"id":207620,"date":"2019-12-05T08:14:10","date_gmt":"2019-12-05T08:14:10","guid":{"rendered":"https:\/\/compozly.com\/blog\/?p=207620"},"modified":"2023-02-24T20:00:16","modified_gmt":"2023-02-24T20:00:16","slug":"4-easy-steps-to-develop-working-film-composer-mindset","status":"publish","type":"post","link":"https:\/\/compozly.com\/blog\/4-easy-steps-to-develop-working-film-composer-mindset\/","title":{"rendered":"4 Easy Steps to Develop a Working Film Composer Mindset"},"content":{"rendered":"

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Some of the world’s biggest composers all share similar steps in their development. Check out these quick four steps for developing a “composer mindset” in anyone with the passion and talent. Passion and talent can only take you so far, but a pure composer’s mindset will give you the clarity needed to becoming a successful film composer.<\/p>\n

Step 1: Detemine if you’re a music or film composer<\/b><\/h2>\n

\"101Many of the best film composers aren\u2019t necessarily the Mozarts of our generation, but rather they have learned to adapt to the ever-evolving film industry by being not just musicians, but storytellers. There are a large number of classically trained composers who lack the knowledge to achieve the filmmaker’s vision. Composer’s might create a beautifully written piece of music or two, but if it doesn\u2019t fit the movie like a glove, that composer should either focus on songwriting or learn as much as you can about the movie industry, storytelling, and non-music parts of the gig.<\/p>\n

Think of yourself as part musician and part storyteller, since both are incredibly important to being the best \u201cfilm\u201d composer possible. If visual entertainment isn\u2019t one of the biggest reasons you\u2019re in this field, I highly recommend releasing original music, creating music for stock libraries, or even teaching composition skills. The reason you need both is because without the music side, you can\u2019t create the music. Without the film side, you might only be able to create the music, but it\u2019s nowhere near what the screen is asking for.<\/p>\n

To sum this up, think long and hard about whether you want to be a music composer or a film composer, as both require different skills and interests. To throw in a real world example, I like to think of composer Hans Zimmer more of a filmmaker who can create unique music to fit the story (this is me), while John Williams is a classical music composer who also has instincts about how music works within the scope of a story or movie. Which composer type are you? Understanding this is the root of the film composer mindset and a great starting point to understanding yourself so that you can follow the correct path that\u2019s right for you.<\/p>\n

Step 2: Develop a plan to \u201csell yourself\u201d<\/strong><\/h2>\n

\"BabyNow before you skip this step, thinking that you don\u2019t want to sell yourself out, try to reframe that phrase as less of you being a salesperson and more about presenting your best self in every aspect. Many salesmen are pushy, manipulative, and slightly irritating, but rather than thinking about getting gigs by selling your services, think about yourself as a product that can continue to improve. Would you rather be a product that sticks out from the rest, where people are drawn to and referred to, where you don\u2019t have to say a word? Or do you want to be the composer who pushes producers and directors to hire you?<\/p>\n

Personally it feels much more fulfilling to have people pulled to you than to push yourself towards people. This means crafting a fantastic web page, composer reel (audio examples AND<\/span> a visual reel) and sharing your best work so that you\u2019re referred to by other directors. This can easily be done by creating your Compozly social profile when you sign up for a free account<\/a><\/strong>. Always remember to be a Baby Yoda, not Kylo Ren (for non-Star Wars people, this means let yourself be so awesome that everyone is drawn to you, don\u2019t feel the need to \u201cforce-pull\u201d directors to you.)<\/p>\n

Step 3: Practice writing music to picture<\/strong><\/h2>\n

\"HansAs many film composers can attest to, there will be times when you\u2019re not working on a score and need to keep up the writing and creativity. Many composers will just take that time off to write original music, work on the business side, or take a vacation (if the payment was good haha).<\/p>\n

One thing you can include in your non-working part of the year is to practice scoring to a variety of visual content (without music). Create your own story and scenario, then write music to that picture that you feel would work with a mixture of the visuals and your made-up story. This is a great way to practice composition but also hammering in what music goes with each emotion and visual, so that when you have a real score, it\u2019ll be easier for you to jump into it and have more ideas initially. Check out this site \u201cVideezy\u201d<\/a> for free 4k videos you can download, which helps to stimulate your film composer brain when you aren\u2019t able to work on a paid project.<\/p>\n

Step 4: Develop a second musical idea for every main idea<\/strong><\/h2>\n

\"TwoMany directors will listen to your score and a lot of times they will know what they \u201cdon\u2019t\u201d want, but not necessarily what they \u201cdo\u201d want. This is when your \u201csecond idea\u201d comes into play! What I do in many of my scores is to create a second idea for each cue. Many times there\u2019s a deadline and this is not possible, however if you have extra time to work, having a second idea immediately at the ready will be a great tool and also impress the director.<\/p>\n

They may immediately say a part isn\u2019t working, and at that point you can bring out the secondary music cue to present to the director. Like I said, timing is the biggest factor here, so only do this when you have extra time to present these extra ideas to the director. If you cannot come up with a secondary idea, this might mean that the cue you have is already great for the scene, or you\u2019ll need the director to help you figure out what should go there instead. In these cases, it\u2019s paramount that you can state your case as to why the music you currently have should be there. Not from a musical perspective, but from a storytelling perspective. If you can talk to the director about why your music fits perfectly with the scene based on the story they\u2019re trying to tell, this is a valuable skill.<\/p>\n

Many directors will say \u201csorry, this doesn\u2019t work\u201d, and a lot of times it is best to redo the music based on what they have in mind. However, if you feel strong about why the current music would work for that scene, state your case methodically. Filmmakers will many times take the composers final word, especially if you can explain to them how it makes the scene\/film better. This step is the hardest to do consistently, as it requires double the work and the ability to \u201csell\u201d the music you wrote for that scene and why it helps tell their story.<\/p>\n

These are just some of the main steps for training your film composer mindset, but continuing to learn about composition, filmmaking, and even marketing as you progress in this career, will allow you to grow as a composer AND filmmaker.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=”3.19.6″ custom_margin=”||||true” custom_padding=”20px|350px|20px|350px|true|true” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ admin_label=”SECTION – Email Optin – eBook Signup – The Essential Guide to Film Music Collaboration” _builder_version=”4.14.5″ _module_preset=”default” saved_tabs=”all” global_colors_info=”{}” global_module=”208326″ theme_builder_area=”post_content”][et_pb_column type=”3_5″ _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”https:\/\/compozly.com\/blog\/wp-content\/uploads\/2018\/05\/ebook-thumbnail_2022.png” alt=”Compozly eBook” title_text=”Compozly eBook” admin_label=”eBook Thumbnail” _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_signup mailchimp_list=”Compozly MailChimp|e8500b7298″ use_custom_fields=”on” success_message=”Success! We just emailed you a copy of the eBook. You should see it in your inbox within a few minutes.” button_text=”Download” description=”<\/p>\n

Get your FREE copy of %22The Essential Guide to Film Music Collaboration%22 <\/strong>to help create better music for your film and video projects.<\/p>\n

” admin_label=”Mailchimp Email Optin Form” _builder_version=”4.14.5″ _module_preset=”default” header_font=”|600|||||||” header_text_color=”#333333″ header_font_size=”16px” header_line_height=”1.3em” body_text_color=”#333333″ use_background_color=”off” custom_button=”on” button_text_color=”#FFFFFF” button_bg_color=”#34D6B7″ button_font=”|700|||||||” button_icon=”||divi||400″ button_on_hover=”off” background_layout=”light” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_signup_custom_field field_id=”5″ field_title=”Job Title” field_type=”input” _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}” predefined_field=”5″ theme_builder_area=”post_content”][\/et_pb_signup_custom_field][\/et_pb_signup][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Footer – Opt-in” _builder_version=”3.25″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”About the Author – Header” _builder_version=”3.27.4″ text_font=”|700|||||||” ul_font=”||||||||” text_orientation=”center” custom_padding=”15px||” global_colors_info=”{}”]<\/p>\n

About the Author<\/h3>\n

[\/et_pb_text][et_pb_divider _builder_version=”3.19.6″ custom_margin=”||||true” custom_padding=”|350px||350px|true|true” global_colors_info=”{}”][\/et_pb_divider][et_pb_team_member name=”Adam Robert Galloway” position=”Film Composer” image_url=”https:\/\/compozly.com\/blog\/wp-content\/uploads\/2019\/03\/adam-robert-galloway_200x200.jpg” admin_label=”About the Author – Adam Robert Galloway ” _builder_version=”3.19.6″ border_radii_image=”on|50px|50px|50px|50px” box_shadow_style_image=”preset1″ box_shadow_spread_image=”-17px” global_colors_info=”{}”]<\/p>\n

Adam is a content creator for Compozly and a fellow music composer. He has been scoring films since 2012 and releasing original & cover songs as Muzikm4n since 2017. Despite no formal training in composition, Adam has spent many years learning how to produce and compose music that provides filmmakers with effective and unique scores.\u00a0<\/div>\n

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CONNECT WITH US ><\/span><\/a><\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Some of the world’s biggest composers all share similar steps in their development. Check out these quick four steps for developing a “composer mindset” in anyone with the passion and talent. Passion and talent can only take you so far, but a pure composer’s mindset will give you the clarity needed to becoming a successful […]<\/p>\n","protected":false},"author":8,"featured_media":207706,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

Some of the world's biggest composers all share similar steps in their development. Check out these quick four steps for instilling a \"composer mindset\" in anyone with the passion and talent. Passion and talent can only take you so far, but a pure composer's mindset will give you the clarity needed to becoming a successful film composer.<\/p>

STEP 1: Are you a music composer or a film composer?<\/strong><\/p>

\"101Many of the best film composers aren\u2019t necessarily the Mozarts of our generation, but rather they have learned to adapt to the ever-evolving film industry by being not just musicians, but storytellers. There are a large number of classically trained composers who lack the knowledge to achieve the director\u2019s vision. There may be a beautifully written piece of music or two, but if it doesn\u2019t fit the movie like a glove, that composer should either focus on songwriting OR learn as much as you can about the movie industry, storytelling, and non-music parts of the gig. Think of yourself as part musician, part storyteller, as both are incredibly important to being the best \u201cfilm\u201d composer possible. If visual entertainment isn\u2019t one of the biggest reasons you\u2019re in this field, I highly recommend releasing original music, creating music for stock libraries, or even teaching composition skills. The reason you need both is because without the music side of you, you can\u2019t create the music, but without the film side of you, you might only be able to create the music, yet it\u2019s nowhere near what the screen is asking for. To sum this up, think long and hard about whether you want to be a music composer or a film composer, as both require different skills and interests. To throw in a real world example, I like to think of Hans Zimmer more of a filmmaker who can create unique music to fit the story (this is me), while John Williams is a classical music composer who also has instincts about how music works within the scope of a story or movie. Which composer type are you? Understanding this is the root of the film composer mindset, and a great starting point to understanding yourself so that you can follow the correct path that\u2019s right for you.<\/p>

STEP 2: Think about the best way to \u201csell yourself\u201d<\/strong><\/p>

\"BabyNow before you skip this step, thinking that you don\u2019t want to sell yourself out, try to reframe that phrase as less of you being a salesperson and more about presenting your best self in every aspect. Many salesmen are pushy, manipulative, and slightly irritating, but rather than thinking about getting gigs by selling your services, think about yourself as a product that can continue to improve. Would you rather be a product that sticks out from the rest, where people are drawn to and referred to, where you don\u2019t have to say a word, OR do you want to be the composer who pushes producers and directors to hire you? Personally it feels much more fulfilling to have people pulled to you than to push yourself towards people. This means crafting a fantastic website, composer reel (audio examples AND a visual reel), social media presence, and creating your best work so that you\u2019re referred to by that director to other directors. Be a Baby Yoda, not Kylo Ren (for non-Star Wars people, this means let yourself be so awesome that everyone is drawn to you, don\u2019t feel the need to \u201cforce-pull\u201d directors to you.)<\/p>

STEP 3: Practice writing music to picture<\/strong><\/p>

\"HansAs many film composers can attest to, there will be times when you\u2019re not working on a score and need to keep up the writing and creativity. Many composers will just take that time off to write original music, work on the business side, or take a vacation (if the payment was good haha). One thing you can include in your non-working part of the year is to practice scoring to a variety of visual content (without music). Create your own story and scenario, then write something to that picture that you feel would work with a mixture of the visuals and your made-up story. This is a great way to practice composition but also hammering in what music goes with each emotion and visual, so that when you have a real score, it\u2019ll be easier for you to jump into it and have more ideas initially. Check out this site \u201cVideezy\u201d<\/a> for free 4k videos you can download, which helps to stimulate your film composer brain when you aren\u2019t able to work on a paid project.<\/p>

STEP 4: Develop a second idea for every main idea<\/strong><\/p>

\"TwoMany directors will listen to your score and a lot of times they will know what they \u201cdon\u2019t\u201d want, but not necessarily what they \u201cdo\u201d want. This is when your \u201csecond idea\u201d comes into play! What I do in many of my scores is to create a second idea for each cue. Many times there\u2019s a deadline and this is not possible, however if you have extra time to work, having a second idea immediately at the ready will be a great tool and also impress the director. They may immediately say a part isn\u2019t working, and at that point you can bring out the secondary cue to present to the director. Like I said, timing is the biggest factor here, so only do this when you have extra time to present these extra ideas to the director. If you cannot come up with a secondary idea, this might mean that the cue you have is already great for the scene, or you\u2019ll need the director to help you figure out what should go there instead. In these cases, it\u2019s paramount that you can state your case as to why the music you currently have should be there. Not from a musical perspective, but from a storytelling perspective. If you can talk to the director about why your music fits perfectly with the scene based on the story they\u2019re trying to tell, this is a valuable skill. Many directors will say \u201csorry, this doesn\u2019t work\u201d, and a lot of times it is smartest to redo the music based on what they have in mind. However, if you feel strong about why the current music would work for that scene, state your case methodically, and directors will many times take the composers final word, especially if you can explain to them how it makes the scene\/film better.\u00a0 This step is the hardest to do consistently, as it requires double the work and the ability to \u201csell\u201d the music you wrote for that scene and why it helps tell their story.<\/p>

These are just some of the main steps for training your film composer mindset, but continuing to learn about composition, filmmaking, and even marketing (self-marketing, social media, website, etc.) as you progress in this career, will allow you to grow as a composer AND filmmaker. Comment below on which step you find EASIEST and HARDEST to do when scoring a film?<\/span><\/p>","_et_gb_content_width":"","footnotes":""},"categories":[10],"tags":[47,22,25],"class_list":["post-207620","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-composing","tag-composer-mindset","tag-film-composer","tag-film-composing"],"yoast_head":"\n4 Easy Steps to Develop a Working Film Composer Mindset - Compozly<\/title>\n<meta name=\"description\" content=\"Check out these 4 easy steps for develop a "composer mindset" in anyone with the passion and talent for film composing.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/compozly.com\/blog\/4-easy-steps-to-develop-working-film-composer-mindset\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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