Be persistent. Establishing yourself in this field could easily take years. Rarely will any composer get that one "big break." More often, success is built on hundreds - or thousands - of very small breaks. When I decided that I was definitely going to pursue a career as a film composer, I decided I was going to beat my head against that particular wall until something broke.
John KeltonicNo matter how many scores I've written, the next project will hopefully be completely different. As hard as it is, I'm always trying to stay fresh, not repeat myself, and come up with original musical ideas and ways of scoring.
John KeltonicBe persistent. Establishing yourself in this field could easily take years. Rarely will any composer get that one "big break." More often, success is built on hundreds - or thousands - of very small breaks. When I decided that I was definitely going to pursue a career as a film composer, I decided I was going to beat my head against that particular wall until something broke.
John KeltonicThe most common reason that I turn down a film project is because of my schedule. If I can't devote the time to a score that it deserves, I'll pass. I'll also turn down a film if its moral position is different than what my own understanding of right and wrong.
John KeltonicI became friends on a social basis with a music professor (Dr. Alan Stein) who took a real interest in my work. He encouraged me in countless different ways, urged me to try different arranging styles, etc.
John KeltonicBefore writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
John Keltonic