First Face-to-Face Pointers

Forums Film Scoring Business First Face-to-Face Pointers

This topic contains 1 reply, has 2 voices, and was last updated by Profile photo of Evan Evans Evan Evans 9 months, 4 weeks ago.

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  • #4807
    Profile photo of Tyler J. Wilkins
    Tyler J. Wilkins
    • Topics: 23
    • Replies: 12

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    I live in Washington, DC (surprisingly not the East Coast equivalent of LA, when it comes to the film industry). So, thus far, I have done a ton of remote work, using Skype, phone, etc…

    Tomorrow, I have my first Face-to-face meeting with the Executive Producer of a film that could be my highest profile gig to date. That is not a brag, it’s more to provide a context for where my head is at.

    SO, do any of you wonder folks out there have any pointers for important tricks of the trade when meeting in person?

    He and the Director have already heard generic and spec demos and liked them.

    Thanks!

    "Do, or do not. There is no 'try.'" ~ Yoda

    TJ Wilkins - TJW Sounds  Creative & Collaborative Scoring

  • #4830
    Profile photo of Evan Evans
    Evan Evans
    • Topics: 31
    • Replies: 110

    I would say to stay focused on the project and just keep looking them in the eye like there is nothing else in the world more important than them, and their project and everything they have to say. Just “tractor beam it”. Suck them in, and give them the impression you are sucked in. Total laser focus eye contact.

    Rise to the occasion. Bring your A+ Game. Smile, use your “gift of the gab” to interlock with their discussion points and escalate the conversation’s topics to exciting levels. You want to sound like you are going to ADD AN ENERGY to the team. That if they hire you, they just increased their total “talents on board”. They can hire any composer who can get the job done. And they can even hire a composer who can get the job done well. But they’d rather hire a composer who is so floored to be involved, charismatic, and connected with them and just blabbing on until the end of the universe about all the in depth aspects about the project, that it’s not important how great you are musically or if you too can get the job done like the other final candidates, but rather it’s that you EXPAND their vision to wide boundaries. That is more attractive than the guy who can get it done and isn’t imagining bigger and greater aspects the film can take on with the score you imagine adding to it.

    Don’t sweat any deal points at all. Throw around your own as just possibilities but not deal breakers. Once this project is over, make sure your next one is warmed up and ready to go. Don’t fixate on the current project so much that any deal point matters. You already made the decision whether or not you want to do this film. The deal points are minor to that. You based that decision hopefully on some bigger factors which deal with how you are going to use this project to invest in your future. Now of course, if they decide they want to pay you nothing, and own the music publishing 100%, than maybe you can worry. But even then, you just say “what I’ll do is send over my standard contract in these situations, which gives you guys all the rights to the music for eternity throughout the universe and all media, and that will be all we need for me to come on board.” That’s how you say that. You make it look like for them to get you, they have to agree to this contract which gives them everything. Sounds like a deal to me. What they don’t know, is that will be a Master Use and License Agreement. A great one for them though. But it won’t transfer ownership. But once they notice that, at that point, you’ll say “well this one gives you all the rights you seek.” But don’t go into this decision tree branch at this juncture. None of telling them what it is that you will send them (the Master Use and Sync Agreement). Instead focus on being Mr. Yes I Can, Mr. Amazing.

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