Vlad Savva's Lounge Discussions

After mentioning Daniel Pemberton in a comment earlier I realised I hadn't listened to an interview with him for a while, so dug this out in between mixing session today. Some stunning insights here as Daniel talks over his score to explain his creative process during each cue. I especially learnt f...

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Looking for work in any industry is brutal - especially cold calling. Regardless of our 'specialty' in the film biz, the competition is intense. So we network and make friends both actual and virtual. Potential collaborators such as filmmakers and directors, know who we are and hopefully have see...

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So if our potential collaborators are more well versed with our products, then why does it so often seem that they don't communicate with us though they seem to be producing films that need music. Shouldn't any type of professional 'relationships' yield gigs more than cold calling?

I have experienced the above personally both with filmmakers I have had actual contacts and the many ones with whom I have social media contacts (such as my Facebook friends). It has got to be frustrating for example reading about films that have been selected for festivals produced by a Facebook producer friend that you either never heard about before or that you were not considered for a collaborative position.

I was wondering this morning NOT that it happens but more WHY it happens. My thoughts were, if for example, I knew one or more of the 'causes', it could be possible for an action on my part to minimize or alleviate that factor. For example, earlier this week, my mentor suggested that I could be losing gigs because my audio production is not competitive - that prospective clients don't think my music sounds realistic enough when it is not live. Was that true or just his opinion? Was it the MAIN factor or just one of many? How would I find out?

Well in my opinion, the are likely many 'reasons' why I get some gigs and don't get others and that those reasons will vary based on the prospective filmmaker. And it is risky to ask those filmmakers why they are not working with us - composers at least here in Texas don't get auditions or face to face meeting opportunities like say actors. We just email and text and communicate and network and then don't hear back.

So for this post, I thought about building a list (which you are welcome to add to) of possible reasons that could be worth thinking about. And perhaps in some situations/scenarios, we could ask for feedback from a filmmaker and collect some useful 'intelligence' that help us compete.

So what are some possible reasons we don't get a gig:

1. There is already an ongoing relationship with another composer who gets repeat business

2. The filmmaker does not make the decisions on who is used on the cast and/or crew

3. The 'sound' we have produced on past projects does not work for the project in question. And even though we could be able to produce that sound, the filmmaker has another composer in mind with that background/required sound.

4. Our produced music does not 'sound' like film music and/or live music. It either lacks the quality using the products and samples we are using to create it. Or the artistic content does not sound film-like or professional. For example, we may be really good at composing classical piano pieces or singer-songwriter guitar playing but we are not viewed as being able to create anything else.

5. The filmmaker can not tell how well we fit into a collaborative team environment. Perhaps we don't have sufficient film experience or we don't socialize enough in the community in which the filmmaker interacts. We are viewed as possibly isolationist and an unknown factor in the ability of the filmmaker to meet a timeline. Or perhaps we have had a bad 'interpersonal' experience on a previous project and word has 'got out' about it.

6. Our past history or our current contractual requests/requirements suggest that we could either be too 'expensive' or unwilling to abide by the rules and demands of the film project. For example, we may be viewed as unwilling to give up copyright, not willing to allow our music to be mixed any way the filmmaker wants, or perhaps unwilling to allow the music to be broken into parts and put in places other than where the spots required.

So have you ever had the opportunity to ask a filmmaker why you have not be offered a collaborative opportunity? Has it been one or more of the above. If another reason, let's build this list. And once you knew the reasons, were you able to do anything for yourself or your craft/music to try to mitigate that in the future for other perspective filmmakers?

View all All comments

Vlad Savva

12 months ago

I use this one https://vocalremover.org

Kerry Kennard

At a Film meeting, a guy showed the difference from before and after w some software last year.

It was interesting and … a little disturbing… as it was for scary type of scene. Also it was more thinne...

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Paul Rivers

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1 person likes this
- Kerry Kennard
12 months ago

Great ask Amanda Toney, for creators with big ideas, limited funds, and no patrons; only these tools can get our projects finished and available to our intended (niche?) audience.

Christopher Maes

11 months ago

To be honest, if I could have an AI create a fast and dirty assembly edit of a movie while I'm shooting, that would be most beneficial. Just to have a starting point. I have strong opinions on editing...

Amman Mohammed

Jeez, Amanda, is AI even Reel?

1 year ago

I'm pretty sure you can't use an AI voice trained only on Adele's voice. Not sure about mixing the two voices. AFAIK, copyright in AI area is just being established. It would be fair to get permission...

Alexander Benra

I downloade replay ai . I could not download the models from weight.cc so I googled other sources

4 years ago

Awesome. Joanna, thanks for sharing!

Arhynn Descy

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1 person likes this
- Joanna Karselis
4 years ago

Thank you for sharing Joanna! That was absolutley fascinating.

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4 people like this
4 years ago

Karen "Kay" Ross I've done a couple of action films (low budget) and they are soooo much work! You are literally writing more notes per minute because of the speed and as Daniel Pemberton says, you ne...

Shanika Freeman

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2 people like this
- Arhynn Descy
- Karen "Kay" Ross
4 years ago

Thanks for sharing, Joanna.

Arhynn Descy I have yet to score an action film, but I've written original action music. I can imagine how much of a challenge it is to get all of the beats right but not to...

Shanika Freeman it's great fun and totally worth the effort. I hope you get to write some for a film soon.

Diego Silva Acevedo

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2 people like this
- Maurice Vaughan
- Paul Rivers
4 years ago

Thanks Paul

Doug Nelson

Rory, scene blocking & choreography have nothing to do with action?

Rory Atkinson

Doug, saying the scene is pointless without a story is giving feedback on a fight scene?

Billy Kwack

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1 person likes this
- Maurice Vaughan
2 years ago

Hi Diego, nice work

Loads of fun! Actors are great. I liked it a lot. That said there is a room for finesse.

Brett Russell

5 years ago

Congrats @nabil impressive stuff!

Congratulations!

Nabil Shaban

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1 person likes this
- Vlad Savva
5 years ago

Carl, Brett and Vladislav, many thaks for your congratulations.

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1 person likes this
- Johnny Zito
5 years ago

Due to the critical success (40 awards) of this movie, "Sil and the Devil Seeds of Arodor", the immense popularity with Doctor Who fans a sequel is being planned. However, when it will be possible to go into production is anybody's guess what with this global coronavirus attack :-(

Johnny Zito

Congratulations!!!

Bruce Radek

Excellent and enhances the film

Abigail Yates

Lovely.

Debbie Croysdale

@Steven Thanks for share. Pleasantly surprised, so relaxing to watch. Intriguing space shuttles and sky then guy looks out of window like we all do in hotels or home. ( DOP must have been in plane at some points.) Kinda trance meditational.

Steven Buckner

Thanks everyone!

Tasha Lewis

Welcome!

Lindbergh E Hollingsworth

Courtney, what app are you using for your movies? FilmicPro or ?? Also, here's a site that is wonderful and chocked full of info for mobile filmmakers - click on "Blog" and there's articles addressing...

Courtney G. Jones

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2 people like this
- Karen "Kay" Ross
- Lindbergh E Hollingsworth
5 years ago

Lindbergh E Hollingsworth I’m using Filmic Pro for capture and LumaFusion for editing. Full disclaimer: I am a brand ambassador for both. But, I was using both before I became a beta tester for them....

If it's a challenge, I can try to write the soundtrack on my iPhone hah

Karen "Kay" Ross

Awesome, Courtney G. Jones! Are you looking for any collaborators? We have more than a few members hosting virtual table reads before they start filming. I'll have to try LumaFusion, thanks for the re...

Hey Karen "Kay" Ross ! I'm always looking for collaborators. I'm especially looking for female filmmakers who who have used or are shooting/editing on mobile.

Dawn Prato

Woohoo! That's amazing, congratulations!!

Allen Lynch

Congratulations Martin!

Felix Agyeman Boahen

Wooow... So glad to hear an adapted concept from my country, and from my own tribe heading much forward.

Congratulations, Martin Reese.

"OWUO" means "Death"

Gene Cartwright

Congrats!

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1 person likes this
- Amanda Toney
5 years ago

A true legend. He will be missed, his music and legacy will never be forgotten.

Tony Germann

From the classic Spaghetti Westerns to The Battle of Algiers, The Untouchables and Cinema Paradiso, his compositions helped make these films true classics. I'll be raising a glass this evening.

Rutger Oosterhoff

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2 people like this
- Amanda Toney
- Vlad Savva
5 years ago

"The Mission": https://www.youtube.com/watch?v=oag1Dfa1e_E

We love you, Ennio! and so many songs that we love. Ok, this one takes me back to my childhood days: "Le Professionel" https://youtu.be/gWm_xFuM5ZE

Sandeep Sharma

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1 person likes this
- Becca Carroll Guido
5 years ago

Martin Reese Well said! The items you highlighted seem to reflect principles of success about life as well. Thank you for articulating them so eloquently.

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3 people like this
5 years ago

Stage 32 combines all of the tools that will allow us to reach our goals. Our part is to do the work to make it happen. (network, pitch, write, produce, etc.).

Richard "RB" Botto

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4 people like this
5 years ago

Grateful to all who attended and for all the kind words, my friends. Yesterday was one of my favorite sessions yet. You all brought fantastic questions and energy for days. For those who didn't have t...

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1 person likes this
- Matthew Parvin
5 years ago

Thank you for the update and details RB. I plan on binging it along with the last one. One suggestion is to offer subtitles or dub in other languages. One of the members made the recommendation. It will increase your community.

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2 people like this
- Matthew Parvin
- Becca Carroll Guido
5 years ago

Re-listening to it again since I was doing a lot of typing on the FB Live end - SUCH good information! When's the next one?!

Philip Sedgwick

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1 person likes this
- Phillip E. Hardy, "The Real Deal"
5 years ago

Congrats! Wow, all those things in one place.

Janet Goodman

Good news!

Anthony Moore

Congratulations.

Barak Shavit

AWESOME Phillip!

Emma J Steele

10 years ago

Fantastic, Maggie, congratulations on both requests! Good luck with the reads.

Evelyn Von Warnitz

Great! Good luck!

Lacey Cee

Congratulations! How did it go?

Ray Archie

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2 people like this
- Rachel Walker
- Yon Max-Aaron
6 years ago

Guillaume Longhi - It might also be interesting for us to try to get involved earlier in the project. A composer could be very helpful to define the look/feel and sonic identity of a project very earl...

Rachel Walker

Sometimes movies are made to the sound track which really brings a lot of life to the experience...music is important:-)!

Jonathan Price

Here are my two cents. First cent: if somebody says your production could be improved, work on improving it. A trick I use is to convince myself somebody else composed/produced my track and listen wit...

Let me add another 'list of reasons', sir. Some possible reasons you've got the gigs:

1. You are truly a talent.

2. Maybe you are a wise man and you dive deep in your work and that is why your soundtrac...

Brian Alan DeLaney

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1 person likes this
- Rachel Walker
5 years ago

Ray Archie I actually love getting the scripts during pre-production. It allows me to get a feel for themes and such that I want to use on the project. Unfortunately this isn't always possible, either...