How to Build a Career as a Film Composer

Introduction: The Competitive Landscape of Film Scoring

For better or for worse, "interest in being a film composer is at an all time high" (Kendall, n.d., p. 4). The only way to succeed in a competitive environment like the music and film industry is through the cultivation of psychological resilience and social intelligence. My goals as a film scorer are tempered with the realism that this is a long and difficult path. I know what I need to do in terms of networking and learning from other people. Composing the music is the easy part; marketing myself, making myself hireable and easy to work with, and being genuinely interested in team collaboration are the true prerequisites for success.

As film scoring grows ever more competitive, aspiring composers must think strategically about both their artistic development and their professional positioning. The sections below outline my short- and long-term career goals, my approach to the music business, and the key lessons I have drawn from Lukas Kendall's widely read guides to breaking into the field.

Short-Term Goals: Education, Collaboration, and Networking

My short-term goals are straightforward: to acquire a strong and varied education, to get my feet wet by working on student projects and internships, and to build up my list of contacts in the film and music communities. Another short-term goal is to expand my horizons by traveling. I want to learn about different film and music cultures in other countries, thereby making myself more culturally competent, more marketable as talent, and more inspired by diverse perspectives and approaches to film scoring. Even as an armchair traveler, I can learn a great deal now by watching films produced in other countries. The best film scores draw from numerous creative impulses and inspirations; nothing is created in a vacuum.

In the short term, I am also interested in collaborating with fellow students and colleagues in the music industry on exciting projects. Those projects could unfold in a formal and structured environment, or might evolve more organically and informally. I am eager to work with other creative minds, bringing our diverse perspectives and aesthetic tastes together to create something of value. Meeting my educational and professional short-term objectives will require daily regimens and strong time management skills. I need to dedicate time and energy each day to writing music, but also to studying the greats, listening carefully to a wide range of music, watching films with close attention to their scores, and working with mentors.

I need to build solid professional relationships with my fellow students. Together, we can accomplish what we could not on our own. I see myself collaborating with other student musicians on scoring projects, pooling our resources to produce the best possible live demo recordings. I also see myself working alongside students in film and the other creative arts, because I need to learn where I fit into the larger picture of film production. The more I learn about the daily life of a film scorer, the better positioned I will be to transition smoothly into a professional environment. Beyond depth, however, I want my education to be characterized by breadth. I want to learn about the business of the music industry, its history, and the liberal arts knowledge that will enrich my musical career. Ethnomusicology, music theory, and film theory are all important avenues of study for me.

Gaining access to the music and film industry as an insider will require persistence. While in school, I will have the opportunity to work as an intern. Internships, paid or unpaid, will let me be the "fly on the wall" who is continually listening to the latest trends and needs in the industry (Kendall, n.d., p. 3). Through internships, I may also learn about the day-to-day life of composers, editors, and producers — what producers look for in musicians, what types of music work best in different kinds of films or scenes, and what social skills I need to develop. Internship opportunities will also be instrumental in helping me network, which is the cornerstone of my future success. I intend to leverage my early-career experience as a newcomer and am willing to put in the footwork needed to achieve my goals.

Long-Term Goals: Genre Flexibility and a Signature Sound

My long-term goal is, of course, to become a sought-after film composer and scorer. I am ambitious and believe that if I work hard, I can find a place among the respected film composers of my generation. This does not mean I harbor any delusions; it simply reflects the reality that every generation needs a pool of dedicated talent — composers whom producers and directors can rely on to deliver on schedule, listen to others' needs, place those needs before their own, and remain affable and easy to work with. Having studied Lukas Kendall's advice for aspiring film scorers, I understand that emotional intelligence and people skills are at least as important as, if not more important than, the actual music we compose. Of course, strong compositional skills are essential, which is why formal training is part of my short-range plan. Over the long haul, though, I intend to work intensively in both the music and film industries. Real-life experience will get me through the film production door. Ultimately, I would like to develop a signature sound — a voice that distinguishes me from other film scorers — while remaining flexible and adaptable, always learning new approaches to composition and new genres.

In terms of genre, I want to be as flexible as possible, because I have not yet found my niche. I appreciate the scores of sweeping dramas and large-scale fantasy epics, but I also understand the importance of a well-crafted score in a horror or science fiction film, where audiences often rely on the music to guide their emotional responses. In these key moments, the musician behind the picture carries as important an authorial role as the director. Because television shows have grown increasingly sophisticated in their production value, I can also envision applying my skills to becoming the primary music writer who gives a show its sonic identity. I love how some film scores engage audiences with dramatic shifts and emotional intensity, while others sit so subtly in the background that viewers barely register their presence — yet both approaches shape the viewing experience profoundly. Few things excite me more than the unique behind-the-scenes craft of musical composition for visual media.

References

Kendall, L. (2009). The single most FAQ: How to become a film composer. Film Score Monthly. http://www.filmscoremonthly.com/daily/article.cfm/articleid/6069/the-single-most-faq--how-to-become-a-film-composer/

Kendall, L. (n.d.). So you want to be a film composer? http://www.davidbeardmusic.com/So_You_Want_to_be_a_Film_Composer.pdf

String Ovation Team (2017). What is a film composer and how do I become one? Connolly.