Or are you a DIY-er?
Or are you a DIY-er?
I don\'t. I\'ve heard that agents are only interested in jumping aboard the \"already moving trains\", so I don\'t even bother trying. I have an amazing film about to be released to festivals, so I\'m hoping this will generate some steam for myself in this area, but I\'m not counting on anything. I always expect nothing so that I\'m pleasantly surprised if things happen. The truth about agents is that when they want you, you won\'t need them. Sort of like being the one, you just know it [img]images/icons/wink.gif[/img]
Nothing better then overall general views. I think George W. Bush has the same \"gift\" in regards of politics. All agents are bad pr. definition.
Love - Chris
I guess that an honest agent can be immensely helpful at a certain point. But the central sustaining desire behind any real work of art is a selfless gift of harmony and beauty to our fellowhuman. I know that any blessing that comes to our race must come from a feeling of selfless Love from the one who brings it forth, and this is true for music as for any other thing.
Being a musician is like starting a fire. Even if a sudden flare of flames might impress the audience, it may be better to take the time to start one which will last and expand ceaselessly. What lasts is harmonious and peaceful. All the rest is but a cloud that passes today and is gone tomorrow. So, to be a lasting artist which gives to mankind a reflection of its own Divinity means that we have to face our own Divine Self and desire above all else to serve this Life which we are. Then a firm discipline can be established upon a foundation of compassion and trust, and the inner harmony can be expressed through to the people of the world. And then can the real success be achieved, and not just a sparkle flashing today to disappear in the shadows...
It took me many years and severe trials to understand this, so I decided to share it with you.
Be at peace
Yep, get an agent - one of the best moves I ever made. You worry less about your next composing job and don\'t worry so much about the business side of things. Get a good one and its worth paying the fee.
Having said this, be careful who you go with. There are a few who are no use, and I remember a couple of years back a colleague of mine was quite seriously stung by his.
Hey TJ, as a fellow UK resident, can you reccomend any good agents? I\'m not based in London, I\'m about an hour or so away in the east midlands.
I\'m represented as session musician and media composer by several agents incl Morgensterns and Kronos.
But if you\'re looking for work just as a media composer and you\'ve got a good showreel but not too much experience in tv land then try the \"Axis\" agency. You wont get invited in immediately (she only keeps a few composers up-front on her book) but you may get put on her backup list if she thinks your work is good quality, and that will lead to a good foot in the door when someone isn\'t around to fill a job. She does like composers to be british and conservatoire trained though.
If you also fancy branching out into the stage area of things as well as tv then you could try approaching a guy called Tim Corrie, who works for PFD in Russel St, London (sorry don\'t have the address to hand).
If you\'ve got bags of experience scoring for the beeb etc then just go through the Composers assoc as they\'ve got a big list. It wont be difficult to set yourself up with one of them.
Ned- do you know any good agency or agents here in Montreal?
[img]images/icons/grin.gif[/img] [img]images/icons/grin.gif[/img] Sure, no problem. Send me an email: email@example.com
<font size=\"2\" face=\"Verdana, Arial\">This is quite true, in my experience. I would add, \"in their home market.\" I don\'t have full representation, but sometimes I wish I did. I do have very good representation for my intellectual property deals, based in New York, but not for my job-to-job work here.Originally posted by IOComposer:
agents are only interested in jumping aboard the \"already moving trains\"
If there were someone here in Dallas that could handle that, I\'d give up the percentage in an instant, just to be taken out of the negotiating position.
In most cases, thankfully, the structure is such that I\'m negotiating deals with a managing director or producer. That goes well. The difficult thing is when you have to negotiate a deal with someone who you\'ll later collaborate artistically. This is often the case with smaller productions where the creators are essentially the producers, too. I prefer not to do that, but most of the time there\'s little choice. In those cases, you have a more complex bargaining task. You want to get as much money for the work as possible, and as much of a budget as the production can bear. But you have to weigh the aggressiveness of your bargaining against potential backlash later in the project. Sometimes being satisfied with a little less, and being clear about exactly what they\'re getting for the money, can be better.