Why & How To Hire A Composer:

The relationship between filmmakers or game producers and the composer is a very unique one.  On this page, we'll give you some hints regarding what to look for when hiring a composer:

• When to hire one
• What to listen for in demo tapes
• Qualifications
• Checking credits
• Interviewing
• Recommendations

(Much of the information presented here has been borrowed from David Bell's book, listed as suggested reading at the end of this article.)
 
When to hire a composer
As soon as possible!  Just as the actors and filmmakers normally have time to think about, discuss, research, and shape the character of the roles to be played, the composer and director should have plenty of time to do the same for the character of the music.  This is important so that the composer can pick up clues about the dramatic/musical vision.  The bottom line is, give the composer as much time as possible!  The more time, the better he will be able to realize your creative vision. If pre-score is required, such as writing musical dance numbers, hire the composer two or three months before shooting begins. 

After the picture is locked:
• Four to six weeks is the minimum amount of time needed to compose the score for a feature film or full-length video game.
• Two to three weeks for a television movie.
• One week to ten days for a one-hour episode of television.
Moral: Hiring the composer at an early date won't cost more money, it will only result in a better score!

What to listen for in demo tapes
In listening and sorting through demo tapes, the main objective is to find music that is interesting to you, even though it may be a different style than you are looking for.  In fact, it is quite unlikely that a demo tape will have exactly what is desired for a film or a game.  Listen for unpredictability in the music; the composer who tosses in the occasional unusual note or rhythm has a more unique and interesting approach.

What makes good film or game music?  Very noticeable music that is interesting to listen to is not necessarily good music for your project. Often, when listening to a soundtrack album, a piece of music that sounds uninteresting may in fact be quite exciting when it is part of a complete audio/visual experience!  Good music does the job - no more, no less.

When requesting demo tapes, supply the composer with as much of the following information as possible:

• An accurate description of the film/TV show/video game
• The mood or type of music you're seeking
• The music budget
• The time schedule
• The instrumentation (synthesized or orchestral)
• The name of preexisting scores that you feel are stylistically appropriate

Demo tapes should be audio only.  With video demo tapes, when seeing a piece of film, producers/filmmakers naturally focus on the writing, acting, graphics, directing, cinematography, etc., and their reaction to these elements will no doubt color their perception of the music.

 
Qualifications
What kind of qualifications are necessary for today's multimedia composers?  With current technology in the music field, it is possible for virtually anyone to push a few buttons, make some sounds, and call themselves a composer.  But hearing the latest hip sampled sounds does not guarantee that the composer will satisfy the requirements of the production. Composing is a craft as much as it is an art.  Of course there are always exceptions to any rule, but a qualified composer should possess the following knowledge and skills:

• Music theory
• Orchestrating and arranging
• Conducting
• Mathematics (for timings)
• Extensive musical vocabulary (styles, sounds, colors, etc.)
• Historical knowledge (both musical and other)

Good communication skills are also necessary.  Music is abstract .  Trying to convey a preconceived idea about what the music should sound like is the most difficult aspect of the composer/director/producer relationship.  The common language of the filmmaker/producer and composer is one of emotion and drama.  The best method of communication is to tell the composer the emotion you want the audience to feel.

 
Checking credits
If you're making a feature film, don't automatically shy away from a composer whose credits are primarily in television; the same goes for video games.  The disciplines are the same, only the budgets are different!  Many of our best composers today are ones that started out in television: John Williams, Jerry Goldsmith, Alan Silvestri, and Bruce Broughton, to name a few. Too many films and games resort to safe and conservative scores.  Truly daring music today is rare. Composers who have worked with smaller budgets are generally more creative with respect to working with the resources available: smaller orchestras, smaller budgets, tighter deadlines.  These composers are flexible enough to work in many creative and unique ways.  Remember Bernard Herrmann's score for the Twilight Zone in which he used only Bass Clarinet, Harp and Percussion?  That score was as scary as any done with a large orchestra.  It's the writing - not the size of the orchestra!

 
Interviewing
Some composers have great business acumen and are terrific salespeople, but the best score for your film may come from the quiet, studious composer.  He may be the one who, by studying your film and your vision in his thoughtful manner, will musically tap into the true heart and soul of your project.  Obviously, you must feel comfortable and get along with this person, because you will have close contact with him for the duration of the scoring process.

 
Recommendations
It is very important to get recommendations from people that you trust, from people that either know and/or have worked with the composer before.  You want to know that the composer feels as passionately about his art as you do about your project.  You want to know that the composer is reliable and professional.  After all, you have a lot of time and money invested in this project.

 
Suggested reading
'Getting the Best Score for Your Film', by composer David Bell, Silman-James Press, 1994

If you don't read this book, you are doing a disservice to yourself and your project.  David's book is a wealth of information, a valuable resource that clearly defines the role of the composer, and helps the producer/filmmaker clearly understand the entire process from the spotting session to the final dub.

'Listening to Movies', by composer Fred Karlin, Schirmer Books, 1994

An invaluable book for the film buff and filmmaker, it describes the process of creating a score, provides a close study of eight famous films and their scores, includes an overview of the evolution of film music, a list of composers and their credits, soundtrack information, filmography and bibliography.

'On the Track', by composers Fred Karlin and Rayburn Wright, Schirmer Books, 1990

Although aimed primarily at composers, this text is excellent as it contains dozens of interviews, comments and quotes from famous producers, directors, and composers giving insight into the collaborative process of creating a film score.
(Sorry, but it's out of print!)