As such, you can sometimes feel a real pressure should you miss the target more than once when scoring a scene. So why is it a double edged sword? Well, your main purpose on a job is not your education of course, it’s to deliver a great score. If you’re having to alter your tracks by changing the same things, time and again, take note! Also, over time, feedback can reveal to you the corners where you’re approaching the art in a way that doesn’t work.
That advice comes from a place that fellow composers or musicians may miss when they feedback to you in an internet forum or such like, where everyone can be too focused on the music as the most important element. For example, feedback is coming to you straight from the director who may know very little about the technical side of music, but a lot about what she’s going for: what feels good to picture and what doesn’t. First of all, it’s invaluable in so many ways. Learning on the job is a double edged sword.
#MUSIC PUBLISHER FOR MAC QUAYLE TV#
If you’re currently pitching to score TV shows (or looking to get into this) and it’s early days with that side of your career, this article is for you. I learnt a good few lessons in those early days and want to share a couple of them with you. But I’d never actually written bespoke music for a TV show before and, with a mixture of excitement and nerves, I was keen to see how it went. Sure, I’d won the pitch against a bunch of other composers, which meant that my writing and production skills were up to par for the job, and that felt good. coming soonīack when I finally won my first job writing music for a TV show, I wasn’t aware that my education was just about to begin. Check back in the coming weeks for more info. Composers Favourites – A new podcast is coming soon.Podcast Episode 11 – David O’ Reilly – Filmmakers Feedback.Podcast Episode 10 – Mac Montero – Filmmakers Feedback.Podcast Episode 09 – Laura Scrivano – Filmmakers Feedback.Podcast Episode 08 – Ana Pio – Filmmakers Feedback.
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