Go for it Francis! A relationship starts with the director and composer. Who knows, this guy could be the next up and coming director. Even if it\'s for free, do it.
Talk about music with him, see what he\'s into.
He\'s gonna be telling you what he wants most likely in the scenes, so sometimes things you write and think are good, he might not like (which can be annoying). That\'s part of the job though. Fight out your ideas with him if you stand behind them strongly since you are the composer and he\'s the director. You might not always get what you want, but remember it\'s your name that goes on the credits for \'Music by.....\'
Use the best samples you own and do the best mock-ups you can.
I\'ve done some cues for very small films on the east coast (mostly film school student stuff), but only through the internet. So I have just sent music to directors hoping they like it and they edit the cues themselves.
I did work with a guy here in my town on a surfing video for a major surf company that turned out pretty cool.
He wanted an opening to the video with ethnic voices singing and a dark drone with strings and bells underneath to portray the spirituality of some of the different lands he went to all over the world like Indonesia, Austrailia, etc. Kind of like the song \"Passion\" in Peter Gabriels soundtrack to \"The Last Temptation of Christ\"
Can you tell us what the film is about?
[This message has been edited by Damon (edited 01-07-2002).]
I am working on one now. He is a good friend so the relationship helps out in the process. It\'s a horror/suspense film that takes place in an old house. The primary libraries are GOS, SoV, TotalPiano, Drone Archeology, DD Woods and Brass, Vocal Planet (there is a flashback scene to an archeological dig in the Middle East...I just got this library and it rocks), and AO Brass/Effects for the cool orchestral effects.
The director is still in storyboard mode, but he has filmed some experimental footage. I am actually early in the process. I am currently working on two themes for the film that revolve around the two main charaters, a boy that lives in the home and an old man who lives next to him.
Is it possible. Have you rented any movies at Blockbuster that went straight to video? Man, some of the music in those are terrible. That\'s what got me interested in doing this in the first place. A resounding YES, it\'s possible!! Go for it Francis.
How big of an independent movie is it Francis? What kind of budget do they have for music?
Take these into consideration when talking money with them. Is the budget big enough to hire real players or just use samples?
Do some mockups for them and if they think that the samples aren\'t cutting it, then you will have to ask them to maybe add a few \'real\' players or entirely all real players.
Also, take into account that you need to make some money also.
I guess it really comes down to how big their budget is for music and what they want.
Hope that helps a little.
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by Francis Belardino:
What level of time constraints do you see with this type of project and how much music do you create for it?
Also, what is a good fee to charge, if any? Like Damon said, \"Do it for free\"... just to get the credits, you know?
How many minutes of music are needed by the film? How long does it take you to write and produce a minute of music? Multiply one by the other and decide what that amount of your time is worth. Dont forget you will have to re-write and/or revise alot of music.
If you are new to scoring you may not be able to command alot of money, but you should try anyway. You need the experience, but the film needs music...and if the film has distribution then someone is making money and it would be unconscionable not to be paid SOMETHING.
A rate survey done by the Film Music Network says the composer fee range on \"guerrila\" indie features in 2000 was $5000 for low budget, $20000 for medium, and $30000 to $50000 for high. (these are package deals, including all costs for musicians, transfers, studio time, etc). If you do it for less then you should try to retain ownership of the music (hell, you should try anyway). At the very worst, you should work on deferred payment, not free. If they ultimately make money, so should you.