From Songs to Scores: Can Songwriters Score Films?
Gone are the days when film music was the exclusive province of conservatory-trained, symphonic composers. Musicians from all backgrounds have scored movies, but that doesn't mean the transition from songwriting is easy. This group of composer-panelists will discuss the challenges of transitioning from the record business to the film business. Topics will include writing songs vs. scoring films, from getting the first gig, to collaborating with directors, to understanding the technology, to union issues, and finally understanding how to prepare for the vast differences between working on a film or television project and writing and recording for your own record.
- What experience originally made you want to score a film or a television program?
- How did the reality of scoring a film or television show differ from your previous experiences as a songwriter or musician?
- What is the most difficult thing about scoring films and television projects that most people who are not composers do not know?
- Composing and, in general, post production is quite a technical endeavor and scores have to integrate with the visual aspects of the film. How can a songwriter or musician prepare with regard to technology with regard to the scoring of film or television?
- Do you need a conservatory background in order to composer, arrange and conduct film scores? In the event that one does not have such a background, what can a prospective composer do to have the chance to score film and television.
- Brad Shenfeld, Principal, Shenfeld Law, P.C.
- Blake Neely, Composer, Blake Neely Productions
- Erin O'Hara, Composer/Songwriter, Erin O'Hara Music
- Dan Coleman, Principal, Modern Works Music Publishing
Brad Shenfeld, Owner, Shenfeld Law, P.C.
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