SCOREcast 31: Total Request (Sorta) LIVE!
In our first Q&A episode, we open up Twitter, Facebook, and a hangout on Google+ to hear what’s on your mind about writing, producing, “politiking”, and navigating the business.
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SCOREcast 29: Christopher Lennertz
Fresh off Universal’s animated “Hop!”, Christopher Lennertz stops by SCOREcast for a lengthy chat on how he juggles features, television, and video games.
Read More →Spotting from the Cheap Seats
***Note — What started out as an article about the role of assistants in the spotting process turned out to be a little more than that. I’ll cover some aspects of spotting from a composer assistant’s perspective, but you’ll find more of an overarching description about what assistants should and shouldn’t do overall in this particular column. End disclaimer. 
When you assist a composer, which I have spent the majority of my time in LA doing, it’s hard to get excited about the “spotting session”. It is only on Spotting Day that I know several things are about to take place for me: I’m going to be fetching a hell of a lot of coffee and I’m going to repeating the phrase, “Can I get you anything else?” a whole helluva lot, too.
Read More →The “Gigs” Don’t Exist
I have dinner every couple of months with a great group of working television composers. Part strategic network, part support group, our times together are always amazing and I’ve never not come away with either some juicy info on a cool new compositional technique or a great new way to implement some sort of hardware [...]
Read More →Sheldon Mirowitz on the Creative Process
Berklee film scoring professor and composer Sheldon Mirowitz (Outside Providence, Missing in America) says, “There are two parts to creating. One is exploring and the other is culling. If you confuse them, then you won’t get anywhere. Mick Goodrick once said to me, ‘When you swim, there is stroking and then there’s gliding. And if [...]
Read More →Collaboration Between Director and Composer
Following on from the Top 10 Most Influential Scores of the Past Decade of last week, I’d like to take a look at how these scores, and many others have affected the creative output, as well as the creative process of a number of film composers – amateur to professional. Lee Sanders wrote in his [...]
Read More →Diversify or Diversi-die?
The role of “Moving Up the Ladder” is to discuss the aspects of being a “newbie” in the film scoring industry, and to look at the different ways to evolve and shape your career. This month, I’d like to discuss the topic of diversifying at the beginning of your career and whether it is beneficial [...]
Read More →Diverse Collaborators
Most of the time when talking about the topic of “diversification” as film composers, we are referring to the skills necessary to write for a variety of different mediums, genres, or projects. I’d like to talk about diversifying in a different light – being a diverse collaborator. Diverse collaboration to me means that in this [...]
Read More →Weekend Provocation 2: Electric Boogaloo
Last week’s Provocation (“Films should not have scores”) sparked a lively discussion, so I’m back with more. Remember, the provocation is a statement that, on its face, seems nonsensical or just plain wrong… but we’re going to use it as a “think tool” to get some perspective. Please jump in with your thoughts and comments… [...]
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