How to Work with Those Crazy Composers (A Starting Guide for Directors)
Updated: Feb 17, 2022
Hi there! Here is an exhaustive beginner's guide to working with composers on a score. This guide starts with the raw basics, so it's perfect for directors who have never hired a composer before. It starts easy but gets pretty technical later on, so read it slowly and as many times as is necessary.
Throughout the post, I frequently discuss best practices for film scores, but almost everything herein also applies to TV scores and much of it is applicable to video game music.
Let's get to it!
TABLE OF CONTENTS
TAKING THE LEAP!
(The Benefits of Working with Composers)
For up-and-coming directors, the idea of hiring a composer can seem daunting. Music plays a crucial role in cinematic storytelling, and musical scores often have the power to make or break a movie. Many new directors might hesitate to hire composers for the following reasons:
Fear of losing artistic control
Embarrassment due to lack of musical vocabulary
Limitations due to deadlines and budget
Availability of royalty-free music and stock music libraries
Of course, there are real risks involved with hiring a composer, but these risks are dwarfed in comparison to the artistic benefits and narrative possibilities that a well-crafted score brings to a film. Here are some reasons that directors choose to work with composers:
Score Enhances Narrative
A good score elevates the various tones and moods of a film. It can manipulate emotions in nearly endless ways, giving the film greater power over an audience's heart and attention. Scores are also crucial in shaping a film's overarching narrative through variations in musical style and intensity, development of themes and motives, and a variety of other techniques. (I feel like this one is self-explanatory).
Increased Cinematic Flexibility
The presence of music in a film makes certain types of sequences far more functional. Long sequences with no dialogue, title sequences, and montages can be greatly enhanced by score.
Auralnauts demonstrates the point hilariously in this video:
Establishing a Setting
Music can effectively convey specific time periods and locations based off of stylistic choices. Take Stranger Things for example, which is set in the 1980s and accompanied by a synthesizer-heavy score or The Lion King, which is set in the African savannah and heavily features South African musicians and Zulu lyrics. (There are like, BILLIONS of examples, but these are the first ones I thought of).
Enhancing an Aesthetic
Similar to establishing a setting, music can help to solidify a film's aesthetic. Take for example Michael Giacchino's score for The Incredibles. This score evokes a style reminiscent of 1940s film noir and the later music of Henry Mancini, a combination that sells the slick, action-packed aesthetic of a movie about undercover superheroes. Also consider Wendy Carlos' landmark score for Tron (1982), which features a combination of synthesizers and orchestra to accompany the crystalline aesthetic of matte paintings and early CGI. (Again, there are tons of examples).
Music can also be crucial in selling the aesthetic of a particular director or film-era. If you're mimicking Alfred Hitchcock, get a composer who can imitate the style of Bernard Herrmann. If you're mimicking Spielberg, get a composer who can imitate the style of John Williams (and watch out for copyright laws).
Thematic Elements
When paired with a narrative, musical elements can take on specific meanings. There are, of course, themes and leitmotifs. These are types of discrete musical elements that can represent characters, locations, objects, or abstract ideas. When used tastefully, they send audiences both conscious and subliminal cues about plot developments, character motives, and much more.
Thematic elements can also be familiar tunes or sounds. Take for example Poltergeist (1982), which opens with a recording of the Star Spangled Banner as a TV sign-off. This is a perfect thematic choice because the frightening horror flick is also a thorough critique of American consumerism with a plot that centers largely around household televisions. Another great example is Max Steiner's score for Casablanca, which makes continual use of "La Marseillaise" to represent French national pride in the face of Nazi oppression.
Here are some other common thematic elements:
-Ticking clocks or watches = time/passage of time
-Heartbeat = anticipation, adrenaline, a literal heartbeat
-Organ = religion, purity, death, mourning, anything spooky
-Chimes/Tubular Bells = death, grave matters
-French Horns = the hero, good
-Synthesizers = computers, technology, aliens, outer space
-Music box = childhood, nostalgia, innocence, creepy dolls
(there are loads more)
It's Fun
Working with composers can be really fun and gratifying. In many cases, original music brings freshness and vitality to otherwise tired projects that directors have viewed countless times. It's also cool to build relationships with composers you like/vibe with. Yay for making new friends! ♥
PLANNING FOR MUSIC
Many new directors (and/or producers) treat a movie's score as an afterthought, something to be dealt with in post production. During preproduction, much of their attention is devoted to finalizing scripts, hiring crew/talent, booking locations, etc. and score can fall through the cracks because it isn't perceived as an immediate concern. This lack of preparation becomes problematic when it's time to score the film but there's nothing left in the budget for music, there's too little time, or (worst of all) the composer isn't qualified for the job.
On the flip side, directors and producers are far more likely to receive a quality product when they take the time to plan for score during preproduction. Planning ahead allows them to be more selective with the hiring process and it better enables them to imagine the film as a finished product, an advantage which I detail in the previous section.
Here are some important items to take into consideration when planning for score:
Style/Aesthetic
Think critically about the musical style of your ideal score. Is it a rock score? Is it orchestral? Knowing the specifics of your ideal score will prepare you to search for composers with relevant experience. It will also help you as you begin to explain your vision to the composer(s) during the scoring process.
Budget
Have a portion of your film's budget set aside for score. Don't touch it. Composers typically begin their work toward the end of post production, so make certain that you or your producer have a watertight financial plan (don't spend all of your money before you get to score).
For your typical Hollywood movie, score accounts for 3-5% of the film's total budget, so if your film has a budget of $100K , plan to set aside at least $3-5K for score. There are plenty of films (especially musicals) where score accounts for a larger portion of the budget (up to 10% and beyond), so take the time to consider how much priority should be given to music in your film. For a more detailed breakdown of composer fees per project type/budget, read this article (there are some helpful charts about halfway down the page).
What is the money spent on?*
-Composer fees
-Orchestrator fees
-Musician fees
-Copyist services
-Recording engineer fees
-Studio booking
-Mixing/mastering
*Not every project will require all of the items listed above. For smaller-budget films, it would be wise to find composers who can compose/produce a score for a small number of musicians. Many low-to-mid budget scores turn to soft synths, samples, and overdub recordings to broaden the sound of a small ensemble. If you want the John Williams sound, you'll have to pay the big bucks.
Timeline
more time = better score
Assuming you're not making a musical, the majority of the labor required for scoring occurs towards the end of post production, once your film is picture-locked. For this reason, it is vital to stay on track with your production schedule, otherwise you won't have enough time for score before your film premieres or is submitted to festivals.
Needless to say, the more time your composers have to work on a score, the more refined it will become. If you plan on giving your composers notes, be sure to give them plenty of time for rewrites. By allowing ample time for the scoring process, you better your chances of receiving a score that fits your vision and elevates your film.
How Long Does Scoring Take?
To guarantee you have enough time for score, simply select a composer early in production, ask them to estimate how long it will take to score your film, and plan accordingly.
It can take as little as a day and as long as several (more than 6) months to deliver a finished score. The amount of time it takes to score a film depends on a variety of factors, but the most important to consider are as follows:
The Film's Duration - By proportion, longer films typically have more music, so a feature-length will almost always take longer to score than a short.
Style and Genre - Certain musical styles are far more labor-intensive than others. For example, fully producing 1 minute of electronic underscore could take as little as a few hours, whereas composing 1 minute of music for a full orchestra could take days (plus the added time for orchestration, part preparation, recording, and mixing if you're using a live orchestra).
The Number of People Working on a Score - If you hire a single person to score your film, you must give them time to compose, orchestrate, record, produce, and mix the music. If you have the budget, you can save time by allowing the composer to hire producers, orchestrators, engineers, and/or more composers to write "additional music". Keep in mind that some composers don't like to work with orchestrators or additional composers.
Unique Creative Opportunities
Planning ahead for music creates a variety of new possibilities, including:
-Original diegetic music
-Musical numbers
-Character actions that sync perfectly to score (Edgar Wright does this frequently)
-Extended sequences with no dialogue
(the list goes on)
Get excited about having a score! Sometimes, you might come up with ideas that your composers wouldn't have thought to try!
SELECTING A COMPOSER
Quick Disclaimer About Money
Before you start reaching out to composers and/or advertising a composer role on job boards, you should determine if you can pay the composer a fair rate or if you're asking them to work as a favor. This will affect which composers will be willing to take the job. Essentially, you should know what you're willing to pay, and if it falls above or below standard rates <(there are some helpful charts about halfway down the page of this article). Be honest if you can't compensate your composer fairly, as there are often composers who are willing to score a film for reasons other than money.
Above all else, DON'T BE AN ASSHOLE. Always try to compensate your composer fairly, and don't lead them on with false promises of experience or exposure. If you are paying your composer with experience, make sure it's worth their time and be extra kind to them. Ideally, they're helping you as much as you're helping them.
WHAT TO LOOK FOR IN A COMPOSER
Composers are weird. Make sure it's the good variety of weird because odds are you'll be spending an extended amount of time with them during the scoring process. When searching for a composer, try to look for these qualities:
Relevant Experience/Ability to Deliver
Make sure your composer is able to give you the product you're asking for. Take a look at their portfolio to see if they've worked on similar projects or if they have examples of the style and quality of music you're looking for. If they don't have a portfolio (as they should), ask them to send you relevant recordings of their work. Some composers might also be willing to write a demo for the project (for a small fee).
Additionally, it's important to know the composer's availability and turnaround time for a finished score, especially if your film has tight deadlines.
Understanding of Film
There are plenty of excellent composers who are dreadful at scoring to picture. The ideal composer will know how to write music that elevates the tone and aesthetic of the film as well as the tone, mood, and actions of each individual scene. Typically, composers who have more experience working in film will have better instincts for writing an effective score.
If you find a composer you like, but you're not sure about a their ability to score to picture, you might ask them to score a short scene from your film (and pay them for the service).
Compatible Personality
Look for composers that you really vibe with. A good working relationship will produce better results and make the process of scoring more enjoyable.
Also...this is an opportunity to make longtime friends and creative partners! It's really cool and super underrated. I could get very emotional about it.
Interest in the Project
Composers who like your film and/or are passionate about the film's subject are more likely to do a good job. Some composers are just looking for a paycheck (understandable, but not ideal).
Some Level of Humility
Watch out for composers with big egos. The ideal composer will be considerate of your artistic goals and know how to handle criticism. They'll also be able to respectfully defend their own ideas and instincts. In general, they will prioritize enhancing the film over writing a flashy score or avoiding conflict with you, the director.
Affordability
Try to look for composers you can afford. If you have a small-to-medium budget, then you can't afford superstar composers like Michael Giacchino or Danny Elfman. Of course, there are examples of high-profile composers taking on low budget projects in an act of charity...but don't be disappointed when that doesn't happen to you. (It really probably won't. Sorry.)
If you have little-to-no budget for score, look for composers who are willing to take on the project for career-building or purely artistic purposes. You're likely to find them in music colleges. Don't take advantage of them though (see money disclaimer).
WHERE TO LOOK FOR COMPOSERS (the cool way)
Despite the convenience of social networking technology, the most effective way to find composers is through organic, person-to-person interaction. Here are some ideas for finding composers the cool way:
Referrals from friends and colleagues. (This is how most directors and composers get connected, especially in Hollywood. It's, BY FAR, the most effective method because there's an element of trust involved. You can ask your friends and colleagues to give you an honest report of the composer's character and abilities).
Ask around at your school or place of work. (This method is great if you're a film student and your college has a music department. Seriously, try it).
Look for composers at guild events and mixers. (I feel like this one is self-explanatory).
Be social in entertainment cities like New York and Los Angeles. (Lot's of partnerships have started in the park or at a bar).
WHERE TO LOOK FOR COMPOSERS (the internets way)
Still, the internets can be nice. Here are a few ways you can put out a request for composers:
Job boards such as LinkedIn, Zip Recruiter, or Staff Me Up
Facebook groups such as the Film Scoring Network For Composers & Filmmakers
Reach out to composers via their website (requires some research).
If you look for composers using the internets, you might mention the following things in your job post/website inquiry:
Name of production
Description of production and the type of score you're looking for:
e.g. Sense, Sensibility, and Cyborgs is a sci-fi dark comedy in which Jane Austin must travel to the future to save the world from a religious war by convincing world leaders that her writings are purely fictional. We are looking for a score that combines elements of contemporary electronica with the early classical style of Vivaldi.
Description of composer's responsibilities
Will they also have to record, produce, mix, etc. ?
Production website and/or social media pages
Paid/unpaid
On location/remote
CONTRACTS
Don't rush through contracts. Contracts are very important, and there are a lot of sharks in Hollywood who will try to take advantage of you because you don't understand the terms. In this section I go over the main points of interest in a Composer Agreement, the document that sets the terms for the composer, the paying party, and the ownership of the music.
I considered providing a template in this section, but composer agreements can have such a wide range of terms that any template I offer will have biases. Also, I don't trust myself to use proper legalese. Be careful when working with a template, as you might inadvertently screw your composer (or yourself) over by failing to understand the terms.
IMPORTANT ITEMS OF A COMPOSER AGREEMENT
Here are the vital elements of a composer agreement, items that you must negotiate with your composer so that there are no unhappy surprises down the road. In an actual contract, some of these items will be grouped together within sections and there will be differences in ordering.
Defining Special Vocabulary
In a composer agreement, there's an introductory section that defines the parties and services using special terms that appear throughout the contract. Here are some of the important ones:
-The paying party (often the director, producer, or production company) can be defined as "Producer" or "Filmmaker".
-The composer can be defined as "Composer".
-The film or any other project can be defined as "Production".
Composer's Services
Establish the services that your composer is responsible for. These can include:
-Composition of music
-Orchestration and/or arrangement
-Conducting
-Producing
-Performing (as a musician)
-Recording
-Mixing
Remember that by giving your composer a greater number of responsibilities, you must also provide your composer with more time and a larger budget.
Deadlines/Delivery Requirements
Establish a date by which the composer must deliver all elements of the finished score. Logically, this date should fall comfortably before the film's scheduled dates for dubbing.
Additionally, you may specify delivery requirements for sound recordings. This can include things like:
-file format
-sample rate/bit depth
-preferred file-delivery platform
-stem preparation
(more info on dubbing and stems in THE SCORING PROCESS section)
Budgetary Requirements
In some contracts, composers are responsible for paying musicians, recording engineers, studio rentals, and more. These expenses can add up really fast, and composers often spend most of their fee on the recording process (thus making a much smaller profit or no profit at all).
If you choose to delegate financial responsibilities to your composer, make certain that you pay them accordingly. Here's a little example:
Let's say you pay your composer $7,000 to score your film, and you want the score to feature live violin and cello soloists! The composer might easily spend $3,000 for a 1-hour recording session (this is a low estimate) on musician fees, engineer fees, and studio rentals. In reality, they are making a profit of $4,000 instead of the $7,000 you pay them.
^^^ Depending on the hours of labor involved in scoring the film, this might be a fair scenario for a low budget independent or student production.
Payment
Establish exactly how much you are paying your composer. Some contracts provide for payment per minute of music. Others provide for a fixed payment or a fixed payment where composers are paid for additional minutes of music above an established maximum.
If you agree to a fixed payment, you might consider the standard practice of paying your composer 1/2 of their fee upon commencement of services and the remainder (1/2) upon their complete delivery of the score's finished sound recordings.
Credit
Establish how the composer's credit appears in the film's opening/end credits, in billing blocks, and in public listings of credits (such as IMDB). Ask your composer how they want to phrase their credit (e.g. Music by Colin Stetson). It's also here that your composer can push for extra exposure, such as title card placement, equal representation by text size and font style, etc. I'll leave that negotiation up to you.
***Grant of Rights/Exclusivity***
The 2 main types of composer agreements are "Work for Hire" agreements and "Licensing" agreements. Knowing which type of agreement you're entering is imperative, as it will determine who has ownership of the music.
In a Work for Hire Agreement, the composer relinquishes all ownership of the music to "Producer". In this scenario, "Producer" has exclusive rights to the music forever and the composer will not be able to resell the music to other buyers.
In a Licensing Agreement, the composer assigns the "Producer" rights to use the music in the film and in association with the film forever. However, the composer retains ownership of the music and can resell it to other buyers (libraries, filmmakers, etc.) based upon the exclusivity of the license:
-In a non-exclusive license, the composer may resell or reuse the music at any time.
-In an exclusive license with a term, the composer and "Producer" agree upon a period of time during which "Producer" retains exclusive license to use the music in connection with the film. After the term has expired, "Producer" may continue to use the music in connection with the film (by a non-exclusive license), and the composer may begin to resell the music to other buyers.
NEGOTIATING THE GRANT OF RIGHTS
Negotiations for which type of agreement you and your composer choose to enter are typically based upon the "flat fee", that is, how much you'll be paying the composer for their services before royalties.
For projects with a lower flat fee, such as low budget indie films, the composer will have more leverage to push for a licensing agreement, thus retaining ownership of the music.
For projects with a higher flat fee, such as big studio films, the "Producer" will have more leverage to push for a work for hire agreement.
Royalties
When a film airs on TV, is made available on streaming platforms, is shown publicly, or is shown at certain theatres, it generates royalties. Royalties are fees that are collected from distributers, and they won't cost you anything. For some basic information about royalties and how they're divided, generated, and collected, read this article from BMI .
In your contract, you specify what percentages of the royalties your composer retains and what percentages are given to "Producer". The 2 types of royalties specified in a composer agreement are the writer's share and the publisher's share. Both are represented by a percentage, 0-100% for a total of 200%.
In Work for Hire agreements, composers typically receive 100% writer's share and 0% publisher's share, although there are some cases in which one of the parties might argue for a larger percentage.
In Licensing agreements, composers typically receive 100% of both shares, for a total of 200%.
As with the grant of rights, you'll likely negotiate royalties based upon the flat fee. A smaller flat fee usually gives the composer more leverage to ask for full royalties.
Indemnification
An indemnification clause determines who is at fault for a breach of copyright. Typically, indemnity is placed upon the composer, meaning they must take responsibility for and pay damages in relation to copyright infringement.
This being the case, it's important for you to trust your composer's judgement when it comes to imitating other artists or previously-written compositions. If the contract assigns them indemnity, their neck is on the line, not yours.
Kill Clause
If you decide that your composer has exhibited their best effort but is still unfit for the job, you can fire them and pay them a "kill fee", typically 20-25% of the flat fee. It happens sometimes and shouldn't be too dramatic. Shouldn't.....
Soundtrack Album
Releasing a soundtrack album is great for directors because it's publicity for their film. It's also great for composers because it gives them exposure and credibility and it gives audiences easier access to their music. In most composer agreements, regardless of who has ownership of the music, there's a clause that stipulates the push for a soundtrack album "on good faith". This suggests that the owner of the music, should they deem it appropriate to release a soundtrack album, will get permission from the other party and coordinate an album release that is beneficial to both parties.
This is by no means an exhaustive list of terms that appear in composer agreements, but it should be sufficient in helping you understand how to read/edit a composer agreement. I highly recommend you get help from an entertainment or music lawyer when you're drafting, editing, and reviewing the agreement.
THE SCORING PROCESS
Yay! The fun part!!! Every director and every composer has a slightly different approach when it comes to score, but there are some standard practices that you...well...you really should just do them. They make sense. Here they are:
Waiting for Picture Lock
Composers can't effectively begin to score scenes until the film reaches a locked-timing edit. If the edit changes after the composer has scored a scene, there will be synchronization issues...and hell to pay.
It's critical to understand that music is an artform that exists in time and cannot be cut and spliced as easily as footage, dialogue, or SFX. If the edit does change after a scene has been scored, the composer must undertake a tedious process known as "conforming" in which they alter a musical cue to fit the new edit. Sometimes, conforming isn't possible and the whole cue must be rewritten. Both processes annoy the shit out of composers, are a waste of time, and should be avoided if possible.
Remember, composers are crazy, so don't make them angry or they will probably find a way to turn you into a tuba.
***Spotting***
A crucial first step of the scoring process is the spotting session. Before the composer writes any music for any specific scene, they and the director must sit down and watch the film together, taking detailed notes on where music will be placed and what it should be doing for each scene.
****This part of the scoring process is the most creatively involved for directors, so take your time, take it seriously, and show your composers your vision!***
The notes compiled during a spotting session are of immense value to the composer and will be continually referenced throughout the scoring process. Spotting session notes should cover the following:
-Cue number
-Starting timecode, ending timecode, and duration of cue
-Notes on tone, mood, and musical style
-Specific notes on highlighting plot points and character actions
-Specific musical ideas such as instrumentation, rhythms, dynamics, etc.
For many productions, there are subsequent spotting sessions, which are helpful when evaluating how the score affects the arc of a movie as a whole.
WHAT IS A CUE?
In a film or TV score, a cue is a discrete piece of music that has a beginning, an end, and is assigned to a specific moment/timecode. A score is made up of multiple cues, so if you think of a score as a playlist, then cues are the tracks. (It's not very complicated. Stop pretending it's complicated. It's not.)
Each cue receives a number and a unique title. This makes it easier to stay organized when discussing multiple cues later in the scoring process.
Being Specific
During the spotting session and throughout the scoring process, you must try to be very specific about your vision for the score. It can be frustrating when the composer has to rewrite a cue simply because the you didn't provide enough information the first time. Here are some ways that you can be specific when communicating your ideas to composers:
Know the story. Be ready to explain plot points, character thoughts/feelings/motivations, and how the audience should be engaged at any moment in the film.
If you can't speak music, speak English (or whichever language you use to speak with your composer). While knowing musical terminology can be super helpful, it's not the end of the world if you don't speak music. Here's a little example of what might work:
Director says: "When the fighter jet comes over that ridge, it needs to sound super hopeful...kind of like a triumphant U.S. military thing with those military-sounding drums."
Composer thinks: Triumphant and hopeful. Got it. She wants me to use snare drums for a U.S. military vibe. I'll put trumpets on the melody to make it extra patriotic.
Show, don't tell. If you just don't know how to explain something, have an example ready. The internets make this super easy.
Delivering Video and Audio to Composer
Your composer will need a copy of the film in order to score it (duh). When delivering sound and picture to your composer, it will help immensely if you follow these steps:
-Burn in the timecode. This way, your composer can tell you when to start the file. If they're extra professional, they'll know how to embed the starting timecode in the sound file's metadata so that it will snap to the correct position when dropped into an AVID file).
-Provide dialog, SFX, and temp music on separate tracks or channels. This way, the composer can monitor just dialog, or just SFX and reference the temp score as they're composing the cue. As a result, you should receive a far more balanced cue that doesn't compete with the dialogue or FX.
You can read more about best video delivery practices in this article.
Side note: If you're making a feature-length production, consider delivering the film to your composer in reels, just as you might deliver it to a sound editor or colorist. This is still common industry practice and following it can make you seem more professional.
Notes and Rewrites
When a composer sends you a finished cue (or a mockup if you'll be recording later with live musicians), you might have notes on how the composer can improve the cue. When giving your composer notes, be specific. I already wrote a whole section about being specific. The same rules apply here.
Ideally, the changes will be small, but sometimes the composer will have to take a new approach and rewrite the entire cue. Try to be specific, lest your composer be stuck in an eternity of rewrites. If a cue just isn't working, leave it alone for a while and encourage your composer to work on other portions of the film.
Sometimes, your composer will nail it the first time. When this happens, take a moment to celebrate and don't make up unnecessary complaints.
WHAT IS A MOCKUP?
If you and your composer plan on recording a score (either partially or completely) with live musicians, then the composer will probably send you mockups for review before orchestrating each cue. A mockup uses virtual instruments to approximate the sound of a group of live musicians, such as a woodwind quintet, a string section, or even a full orchestra. Mockups can sound really fake, so try to use your imagination when presented with one. The real thing almost always sounds better. Like, waaayyy better.
Recording Sessions
Projects that use live musicians necessitate recording sessions. By the time that a score has reached the recording phase, there is little that you can do to alter the expressivity or function of the music.
The purpose of a recording session is simply to get a quality recording of music that has already been written. Some directors think that composers can make significant alterations to the score during a session, when in reality, composers usually just tell certain instruments to play louder or softer (or more in tune).
Here are ways to be helpful as a director during a recording session:
-Leave your ego at the door. Recording sessions are fast-paced and very expensive. Don't waste time and money by making unnecessary comments.
-Keep your focus on story. If you notice a music thing that distracts from the story, mention it to the mixer and/or composer. They might be able to fix it by sliding a slider or telling certain musicians to not play certain notes.
-Don't be stressful. Scoring sessions are high-pressure situations for the whole music department. Be calm, considerate, and encouraging to help everyone focus on the music. You'll get better results this way.
Dubbing Sessions/Working with Stems
In preparation for dubbing, composers usually split their cues into separate audio files to isolate instruments, instrument groups, and production tracks. These files are referred to as "stems". Stems are incredibly helpful during dubbing, as they allow the mixer to boost or reduce the levels of a single instrument rather than the whole cue.
The dubbing stage (pun intended) is the last opportunity for a director to make decisions about the score. These decisions are mostly limited to how loud/soft the score sits in the mix. During dubbing sessions, music is only one of many considerations, so make sure balance your focus between music, dialogue, and sound FX.
COMMON PITFALLS
Using General Terms
As in, not being specific. Be specific about what you want. Lack of description results in unnecessary rewrites. Did I mention that composers hate those?
Over-scoring
Sometimes, you or your composer may be over-ambitious with the score and spoil a scene that worked perfectly well without music.
Under-scoring
Some scenes work much better with music. Your composer might try to be lazy and say, "Oh, it doesn't need score. It works fine." This one is tricky. I leave it to your discretion.
Also, if your composer insists that the scene will work better with music but you don't believe them, let them take a stab at it anyway. They might surprise you.
Demand for Themes on Short Form Projects
Lot's of new directors have an admirable but unhealthy obsession with THEMES! I WANT THEMES! GIVE ME THEMES! JOHN WILLIAMS WRITES THEMES, SO I WANT THEM!
Don't get me wrong. Themes are great, but your project must naturally lend itself to them. They take time to develop and become familiar over the course of a film. If you're making a 5-minute short, there might be time for 1 theme, but it won't have the same impact as in a feature-length.
Overly-Eclectic/Schizophrenic Scores
You and/or the composer have just too many ideas, and all of them are represented in the score. You silly geese. Scores with a variety of influences can be really fun, but they typically have a through-line that unifies them.
A score with too many influences and no through-line can give the film a disjointed feeling, butchering the plot and pacing.
Here are some examples of eclectic scores that get it right:
-Harry Potter and the Prisoner of Azkaban (John Williams): This score has a variety of influences from baroque chamber music to free jazz to experimental fixed-media with orchestra. It works because most of the cues are orchestral and share thematic material. Also, the movie is LONG and allows Mr. Williams some wiggle room.
-The Lego Movie (Mark Mothersbaugh): This score features everything from tack-piano saloon music to EDM. It's held together by a strict regiment of themes and leitmotivs that give the film a satisfying sense of continuity and progression. It's actually very impressive.
Temp Love
Don't get too attached to temp music. When a composer sends you a new cue, it can be jarring. Watch the scene multiple times and give it a few days to digest if you can.
Misuse of Musical Terminology
If you don't know how to speak music, don't pretend you do. If you're not sure what a musical term means, ask your composer. They probably would love to explain it to you. Haha. Those composers are such narcissists.
THINGS THAT MAKE COMPOSERS HAPPY
NORMAL THINGS DON'T MAKE THEM HAPPY (THEY'RE INSANE).
Good Communication
Be specific on what you're looking for. Composers are really happy if they don't have to mind-read.
Budget for Live Musicians
Live musicians bring so much energy and expression to a score, it's not even funny. If you have the budget for live musicians, use it. Your composers will freak out like dogs being driven to the park.
Credits Suites
Composers often enjoy the freedom composing music for the end credits. You can give it to them as a present instead of licensing that pop tune. I know you were thinking about it. But licensing pop tunes is so expensive...
Diegetic Music
Some composers enjoy the creative challenge of writing music that appears in a scene with the characters. Think about the cantina scene from Star Wars!
Sincere Flattery
Not to be confused with ass-kissing. Composing a score is hard work. When you recognize that your composer is doing a good job, tell them! Be really sweet about it. Try to get them to smile while shedding a single tear.
THINGS I LEFT OUT
Temp Music
I didn't discuss temp music in detail because it's a controversial subject. It has its pros and cons I guess.
Cue Naming Conventions
This is boring and easy enough to understand if your composer knows what they're doing.
Cue Sheets
These are complicated. Also, if your composer cares about money (they probably do) they will make sure to create and submit cue sheets properly.
Musical Terminology
Take a music theory course. This post is about movies.
Personal Anecdotes
You're welcome.
Probably some other stuff.
Yeah sorry.
CONCLUSIONS
Composers are crazy
Composers are worth the hassle
Plan for score during preproduction
Wait for picture lock to start scoring
Be Specific
Alright! Now that I've exhausted you with this guide, you should probably go to bed. Comment below if you have any questions or corrections or if you can think of anything important I left out.
Also, get excited!!! I know this guide could be snarky at times, but working with composers can be really fun. Now go make some new friends! Shoo! Shoo!