6 items from 2010
First off, happy New Year from all of us here at SCOREcast! I truly hope that you were able to chill out a little this week, spend some quality time with people who are important to you, and steal a few quiet moments for yourself to reflect on the year that was and the year that’s headed this way in just a couple more days.
Secondly, you might notice we’ve done a little bit of year-end sprucing up around here a bit at SCOREcastOnline.com. I’ve challenged our contributor team this year to really focus on one thing with as much intent as they can: Community.
Community is really the driving force behind everything that we do at SCOREcast, and it is community that will unite us across all borders and help to keep our profession of putting notes on paper thriving through the next season of filmmaking evolution. »
- Deane Ogden
It took them a year, but the Society of Composers and Lyricists has come out in support of the proposed Composers Union, spearheaded by the Association of Music Composers and Lyricists (Amcl) and the Teamsters Union Local 399.
As Jon Burlingame first reported in Variety, the decision came down when the Scl board recently voted to endorse the effort.
The Amcl is expected to formally announce the Scl’s endorsement at their next organizing meeting at 7 p.m. Monday, Nov. 15, at the Writers Guild Theater.
Since last April’s addition of several Amcl steering committee members (including composers Mike Post, Sean Callery, Rick Marvin, Richard Gibbs, and others), the Scl is the most recent organization to come out in support of the Amcl’s retooled campaign for a “benefits only” union for composers. Earlier this year, organizations including WGA, SAG, AFTRA, Afm, and the Recording Musicians Assn. (Rma) formally endorsed the effort by the Amcl. »
- SCO Staff
No, I’m not referring to Deane’s post from yesterday about Notational Velocity (although it was pretty cool!).
I have been given the rare opportunity to hijack the Open Forum Friday for today, so I figured since nobody else in town seems to be talking about it, I’d try to drag the topic of the proposed “union” back from the dead and see if there was still any blood to leech from it. (Speaking of leeching blood, who else is eagerly awaiting The Walking Dead on Halloween night?)
In all seriousness, there are interesting arguments both for and against a Composers Union in La. But is one even feasible? Is it worth it? Is it too late? Is it necessary? Are we longing for the past when we should be facing the reality of the future? These are all questions that are, frankly, still unanswered. God bless the guys on the dais, »
- Jai Meghan
First, let me say that unionization will not solve all the challenges facing our community. The events which have led to our current state are many and varied. Collectively they might be appropriately referred to as the “perfect storm”. Some, but certainly not all, might be:
1. A veritable glut of young people desiring to become working media composers.
Why? Maybe it has to do with the availability of electronics. Maybe due to Star Wars. Writing music to picture makes lesser music more important and effective, not to mention having a film to use as inspiration.
2. Filmmakers graduating from film school without any training in the use of music as a post production tool.
How, then, can they be expected to adjudicate which composer or what music will best service their film?
3. Reduced cost of both film making and music making.
The digital age allows films to be made on a »
- SCOREcast Online
There are all kinds of things besides spotting that make a spotting session important. After the jump, some discussion: what they are, why they're important, and how to turn them to your advantage. (And yes, I did make a special green logo for St. Patrick's Day. You're worth it.)The spotting session is usually the first time you're actually working together with the filmmakers on the project. Up to this point you've probably talked a bit about how your score might function with the picture. You have at least the broad strokes of the music budget in place, so you know what kind of forces you'll be able to bring to bear on the scoring enterprise.
But now you're all together in the room, looking at the picture… deciding on the precise frames where music will enter and exit… and what that music will attempt to accomplish within the scene. »
- firstname.lastname@example.org (Lee Sanders)
Before we get too far into this month's topic of "Getting the Gig," I just want to ask you, as this weekend's Provocation, a simple question:
Are you ready to get the gig?
When I talk to film scoring students, everything we discuss is framed around facilitating their ability to say yes… because just about the toughest thing you can have happen in your career is to land a gig before you're ready for it. Facilitating your ability to say yes means that you're identifying areas in which you need to improve so that you're ready for anything.
Creatively, technologically, mentally, physically, emotionally and in all kinds of other ways, you have to be in a position to be better than the work deserves. Not that the project is necessarily bad—but, as Richard Bellis is fond of saying, "in order to move up, you have to be better than the material you're scoring. »
- email@example.com (Lee Sanders)
6 items from 2010
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