Declining Jobs ?

Forums Film Scoring Business Declining Jobs ?

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This topic contains 2 replies, has 3 voices, and was last updated by Profile photo of Evan Evans Evan Evans 9 months, 1 week ago.

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  • #5673
    Profile photo of Gwenaël Grisi
    Gwenaël Grisi
    • Topics: 1
    • Replies: 0

    Hi fellow composers,

    I was wondering if some of you have already been declining jobs because it wasn’t focused on your main goal ? (not because you’re not able to do it, but because this is not the kind of movies/game/etc.. you would like to score)

    Do you think it is something that might serve your future ?
    If yes, what would be the best way to tell it to the director/producer that try to hire you ? This is not the easiest thing to say…

    I hope the topic might serve other composers here,

    Thank you for your answers !

    Gwenaël

  • #5688

    Samantha van der Sluis
    • Topics: 0
    • Replies: 1

    Full Access

    I think it’s important to have some work established before you focus on a specific area. Though if you are receiving too many films with the same genre that you don’t aspire to do, I don’t think it’s wrong to decline.

    Have enough credits so that filmmakers take you seriously, and if you start to get typecast while being an emerging composer, create a demo reel in another area or the specific area you are targeting. For example, I continue receiving sci-fi work because I have contacts in that field. It is at a safe point where I can continue working without being typecast. But at some point I may need to decline another sci-fi to move to my desired area, animation.

    Music Composer for Film & Visual Media

    Los Angeles, CA

     

    http://www.samanthavandersluis.com 

  • #5724
    Profile photo of Evan Evans
    Evan Evans
    • Topics: 31
    • Replies: 110

    When we work for money, as in we are doing the work because of the money, you can think of that like someone who has a job and does the work so they can pay the rent and bills. It doesn’t matter how such a job serves our future, in that case. Because we’re just trying to serve the right now. So, if you cannot do work that serves your future for money right now, in order to get the dual purpose out of it, you at least need to do jobs right now just for the money. The ultimate goal of any Film Composer is to be doing the kind of Films that utilize their signature sound which further serves the Composer’s future. There is no more perfect or higher gig and goal than that. But if one is not yet able to procure that kind of work, and has bills to pay, than one needs to be looking at all the avenues they can get work and money in. That may include lower quality films and/or in genres not helpful to your long term goal, television, corporate, marketing and advertising work, assistantship/apprenticeships, copy work (score prep), all the way down to gigging as a musician, and then beyond that.

    Ideally, you want to have saved up enough money for your start in career Film Scoring, such that you ARE able to pick and choose for a few years, projects that better serve your long term goals.

    Now, as to how to turn down a job where the client really wants you? Again, if you need the money, do it. But if you don’t, and you’d rather make a better career choice, you’ll just have to say something like “I have some other high priority projects that have already spoken for my time.” That could be a white lie, in that the other priority projects could be anything, anything more worth your time, even putting together a better demo reel is a “project” if you think about it.

    🎹 Evan Evans, Film Composer & Mentor, www.evanevans.org
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