Jim Wynorski is a legend in the B-movie world, having racked up over 100 directing credits over the course of his 40+ years of working in the entertainment industry. Among those credits are Chopping Mall, Deathstalker II, The Return of Swamp Thing, Sorority House Massacre II, Hard to Die, Ghoulies IV, Demolition High, Piranhaconda, Sharkansas Women’s Prison Massacre, Attack of the 50 Foot CamGirl, and Murderbot – so it’s clear to see why Wynorski was the subject of a documentary back in 2009. The documentary is called Popatopolis, and the folks at Terror Vision have just brought it to Blu-ray for the first time ever! Copies can be ordered at This Link.
Directed by Clay Westervelt, Popatopolis has the following synopsis: Jim Wynorski was the first to cast Traci Lords in mainstream cinema. He directed Heather Locklear in The Return of Swamp Thing. He discovered Jennifer Love Hewitt. Now, the man behind The Bare Wench Project...
Directed by Clay Westervelt, Popatopolis has the following synopsis: Jim Wynorski was the first to cast Traci Lords in mainstream cinema. He directed Heather Locklear in The Return of Swamp Thing. He discovered Jennifer Love Hewitt. Now, the man behind The Bare Wench Project...
- 4/23/2024
- by Cody Hamman
- JoBlo.com
I always get a little bit reflective and introspective during the end of each year, and particularly during the holidays. I’ve spent a lot of time this week looking back at what we’ve accomplished together with this amazing global community of post-production professionals, and I’ve realized something: Since we are all in the thick of projects most of the time, it’s easy to overlook and forget about obvious blessings.
As we close out an incredible 2010 here at SCOREcast, I wanted to make good use of the rare downtime I have at the moment to update you all on a few great things that are happening around here, many of which were designed with You in mind for the upcoming year. I think these things are huge victories for the SCOREcast community that are worth celebrating and memorializing as we launch into what looks like a promising year for our industry overall.
As we close out an incredible 2010 here at SCOREcast, I wanted to make good use of the rare downtime I have at the moment to update you all on a few great things that are happening around here, many of which were designed with You in mind for the upcoming year. I think these things are huge victories for the SCOREcast community that are worth celebrating and memorializing as we launch into what looks like a promising year for our industry overall.
- 12/22/2010
- by Deane Ogden
- SCOREcastOnline.com
Looking over this past month of articles about “Going Pro”, our SCOREcast contributors have pointed out some very interesting definitions of what it means to be professional in this business. Some have explained that professionalism is a state of mind — that one must think constantly about being professional in all situations, whether in business, personal life, or public life. Others have suggested that to truly be a professional, one must earn a living at what it is they profess to do. For example, you can’t really call yourself a professional composer if you’re not making money “composing”. If all you’re doing is sitting around and talking about “composing”, then you might be able to say your professional talker, but not necessarily a professional composer.
Ever have a season in your life where it just seems like everything has been a lesson? Maybe you look back and realize...
Ever have a season in your life where it just seems like everything has been a lesson? Maybe you look back and realize...
- 6/1/2010
- by Deane Ogden
- SCOREcastOnline.com
There’s a whole category of cliché that seems, at first glance, to revel in shallowness. “Fake it till you make it,” “image is everything,” “style over substance” and a bunch of others, all trumpeting the virtue of looking the part… to the detriment, one supposes, of actually being the part.
Our career, though, hinges on perception. In fact, film music could be said to be all about manipulating the perception of an audience (through music). So maybe there’s an argument to be made that these clichés, empty and soulless as they may seem, actually have some value for us in our day-to-day professional lives. More on image, and why it is actually important, after the jump.
The next time you’re at a gathering of film music professionals, take a look around. Compare the throng before you to the glossy publicity photos and candid event shots of A-list...
Our career, though, hinges on perception. In fact, film music could be said to be all about manipulating the perception of an audience (through music). So maybe there’s an argument to be made that these clichés, empty and soulless as they may seem, actually have some value for us in our day-to-day professional lives. More on image, and why it is actually important, after the jump.
The next time you’re at a gathering of film music professionals, take a look around. Compare the throng before you to the glossy publicity photos and candid event shots of A-list...
- 5/21/2010
- by Lee Sanders
- SCOREcastOnline.com
This weekend I’m once again consumed with work: finding it… doing it… following up afterwards. It reminds me that one sign of a real pro is that he or she is extremely careful with time.
I’ve said it before in this very column: in the end, what we’re all playing for is time. One of the best uses for the money we make is to buy us a little more time here and there… more time to polish up a demo; more time to strengthen relationships with our filmmaker contacts; more time to spend outside of music, with family and friends. And all the thousand other things that make your life a life.
Running a professional composing business is a lot like running a restaurant—besides the amusing comparisons to junk food, fast food and kitchens full of too many cooks (!), there’s the idea that there’s always something to do.
I’ve said it before in this very column: in the end, what we’re all playing for is time. One of the best uses for the money we make is to buy us a little more time here and there… more time to polish up a demo; more time to strengthen relationships with our filmmaker contacts; more time to spend outside of music, with family and friends. And all the thousand other things that make your life a life.
Running a professional composing business is a lot like running a restaurant—besides the amusing comparisons to junk food, fast food and kitchens full of too many cooks (!), there’s the idea that there’s always something to do.
- 5/11/2010
- by Lee Sanders
- SCOREcastOnline.com
Normally, Lee Sanders would occupy this space with a few thoughts to get your noggin’ spinning about the way you conduct yourself in this business of film music. He’ll be back next week to challenge you with an all new Weekend Provocation.
Right now, though, I have a Huge announcement to make…
Last year, over Memorial Day weekend, we launched SCOREcastOnline.com. The idea for a SCOREcast website seemed like the obvious move in the natural progression from the SCOREcast podcast episodes, and felt like a necessary step toward our goal of bringing the professional film music community closer.
At the time of the launch, we weren’t sure if an Sco site would be a raging success, or go over like a lead balloon. I’m happy to report that because of your loyalty as subscribers, the word of mouth that makes our industry the great harbor that it is,...
Right now, though, I have a Huge announcement to make…
Last year, over Memorial Day weekend, we launched SCOREcastOnline.com. The idea for a SCOREcast website seemed like the obvious move in the natural progression from the SCOREcast podcast episodes, and felt like a necessary step toward our goal of bringing the professional film music community closer.
At the time of the launch, we weren’t sure if an Sco site would be a raging success, or go over like a lead balloon. I’m happy to report that because of your loyalty as subscribers, the word of mouth that makes our industry the great harbor that it is,...
- 5/8/2010
- by SCOREcast Online
- SCOREcastOnline.com
Normally, Lee Sanders would occupy this space with a few thoughts to get your noggin' spinning about the way you conduct yourself in this business of film music. He'll be back next week to challenge you with an all new Weekend Provocation.
Right now, though, I have a Huge announcement to make…
Last year, over Memorial Day weekend, we launched SCOREcastOnline.com. The idea for a SCOREcast website seemed like the obvious move in the natural progression from the SCOREcast podcast episodes, and felt like a necessary step toward our goal of bringing the professional film music community closer.
At the time of the launch, we weren't sure if an Sco site would be a raging success, or go over like a lead balloon. I'm happy to report that because of your loyalty as subscribers, the word of mouth that makes our industry the great harbor that it is, and quality,...
Right now, though, I have a Huge announcement to make…
Last year, over Memorial Day weekend, we launched SCOREcastOnline.com. The idea for a SCOREcast website seemed like the obvious move in the natural progression from the SCOREcast podcast episodes, and felt like a necessary step toward our goal of bringing the professional film music community closer.
At the time of the launch, we weren't sure if an Sco site would be a raging success, or go over like a lead balloon. I'm happy to report that because of your loyalty as subscribers, the word of mouth that makes our industry the great harbor that it is, and quality,...
- 5/7/2010
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
Truth be told, I feel like I’ve already offered up whatever wisdom I have for you on the subject of delivering your music… so I’d like to take a little time this weekend to look forward, to future months here on SCOREcast. More on that after the jump…
It’s beyond hard to believe that we’ve been at this a year already, but our anniversary is approaching fast. We’re proud of the community we’re building here, and we’re working on all kinds of enhanced functionality as we go. You can expect a few more cosmetic changes to the site in the weeks ahead, as well as the usual surprise columns from industry pros, and even a couple of new contests.
We will also announce the winner of our Main Title theme contest in our next podcast—! Part of the reason it’s taken us...
It’s beyond hard to believe that we’ve been at this a year already, but our anniversary is approaching fast. We’re proud of the community we’re building here, and we’re working on all kinds of enhanced functionality as we go. You can expect a few more cosmetic changes to the site in the weeks ahead, as well as the usual surprise columns from industry pros, and even a couple of new contests.
We will also announce the winner of our Main Title theme contest in our next podcast—! Part of the reason it’s taken us...
- 4/30/2010
- by Lee Sanders
- SCOREcastOnline.com
I've already outlined a few technical thoughts on delivery and "finaling" (whatever that is) in my Weekend Provocations this month… and I'll continue to do so in the weeks to come.
As I began to write today's article, though, I realized that our April focus itself is built on some assumptions. Those assumptions, and their ramifications, after the jump.
First, we're assuming you actually have a gig. In other words, you actually succeeded in convincing a filmmaker that you're worthy to collaborate with them on their project. This seems to be the toughest step for a lot of people, and we devote a significant amount of time here on SCOREcast to helping you achieve this goal. This month, though, that's a given.
Second assumption: You've successfully threaded your way through the various pitfalls that accompany a typical scoring assignment. Anyone who's been around for any length of time will tell...
As I began to write today's article, though, I realized that our April focus itself is built on some assumptions. Those assumptions, and their ramifications, after the jump.
First, we're assuming you actually have a gig. In other words, you actually succeeded in convincing a filmmaker that you're worthy to collaborate with them on their project. This seems to be the toughest step for a lot of people, and we devote a significant amount of time here on SCOREcast to helping you achieve this goal. This month, though, that's a given.
Second assumption: You've successfully threaded your way through the various pitfalls that accompany a typical scoring assignment. Anyone who's been around for any length of time will tell...
- 4/21/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
With every project I do, I try to take at least a few minutes after final delivery to do a post-mortem with my team. What we cover, and what I hope we get out of it, after the jump.
First off, we're looking for things that went wrong. Did the file backup system we just installed prove to be not quite ready for prime time? Did that new Ram-hog of a sample library crash the sequencing rig? …and like that. This need not be the kind of meeting that takes a long time: generally everyone knows what (or who!) screwed up.
Next up, though, is the beginning of a more substantive discussion: what operational weaknesses did this gig reveal? Note that this discussion is more qualitative, more all-encompassing than the previous discussion. Here we're moving into a "what can we do better?" mode—although I find that question to be...
First off, we're looking for things that went wrong. Did the file backup system we just installed prove to be not quite ready for prime time? Did that new Ram-hog of a sample library crash the sequencing rig? …and like that. This need not be the kind of meeting that takes a long time: generally everyone knows what (or who!) screwed up.
Next up, though, is the beginning of a more substantive discussion: what operational weaknesses did this gig reveal? Note that this discussion is more qualitative, more all-encompassing than the previous discussion. Here we're moving into a "what can we do better?" mode—although I find that question to be...
- 4/2/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
There are all kinds of things besides spotting that make a spotting session important. After the jump, some discussion: what they are, why they're important, and how to turn them to your advantage. (And yes, I did make a special green logo for St. Patrick's Day. You're worth it.)The spotting session is usually the first time you're actually working together with the filmmakers on the project. Up to this point you've probably talked a bit about how your score might function with the picture. You have at least the broad strokes of the music budget in place, so you know what kind of forces you'll be able to bring to bear on the scoring enterprise.
But now you're all together in the room, looking at the picture… deciding on the precise frames where music will enter and exit… and what that music will attempt to accomplish within the scene.
But now you're all together in the room, looking at the picture… deciding on the precise frames where music will enter and exit… and what that music will attempt to accomplish within the scene.
- 3/17/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Your first meetings were all raging successes. The call has come in. They like your stuff, they like you. You've been hired.
You watch the film, make your notes, and prepare to meet with the filmmakers for the first time to spot the film that will occupy your creative headspace for the next several weeks. You pack your creative notes, maybe your laptop, and for sure your initial spotting sheet which contains your knee-jerk reactions to multiple viewings of the film into your bag... and you are on your way.
Up to this point, you have presented the strongest case as to why you would be the perfect person to score this director's film. And it worked — you are the composer now. At this juncture, however, the next step is absolutely crucial. It is a step that will either set you up for a month of victories with this director...
You watch the film, make your notes, and prepare to meet with the filmmakers for the first time to spot the film that will occupy your creative headspace for the next several weeks. You pack your creative notes, maybe your laptop, and for sure your initial spotting sheet which contains your knee-jerk reactions to multiple viewings of the film into your bag... and you are on your way.
Up to this point, you have presented the strongest case as to why you would be the perfect person to score this director's film. And it worked — you are the composer now. At this juncture, however, the next step is absolutely crucial. It is a step that will either set you up for a month of victories with this director...
- 3/16/2010
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
And the Oscar goes to....
Michael Giacchino for "Up!".
Even though Jennifer Lopez and Sam Worthington butchered his name many times during their presentation for "Best Original Score" at the Academy Awards on Sunday night, there was no denying who won the award once Michael Giacchino got up and took the statue in his hands. With a simple speech about how kids who have dreams of entering into the entertainment industry should never listen to those who say it is "a waste of time", Giacchino accepted his award with grace and respect, and then went and sat back down in his seat for the rest of the show.
With a contentious race in many categories, including Best Original Score, it didn't take long before I was seeing people on Twitter, Facebook, MySpace, and Tumblr light into Giacchino, assessing his win as a "fraud", a "mistake", a "travesty", "non-deserving", and even "political" (Political?...
Michael Giacchino for "Up!".
Even though Jennifer Lopez and Sam Worthington butchered his name many times during their presentation for "Best Original Score" at the Academy Awards on Sunday night, there was no denying who won the award once Michael Giacchino got up and took the statue in his hands. With a simple speech about how kids who have dreams of entering into the entertainment industry should never listen to those who say it is "a waste of time", Giacchino accepted his award with grace and respect, and then went and sat back down in his seat for the rest of the show.
With a contentious race in many categories, including Best Original Score, it didn't take long before I was seeing people on Twitter, Facebook, MySpace, and Tumblr light into Giacchino, assessing his win as a "fraud", a "mistake", a "travesty", "non-deserving", and even "political" (Political?...
- 3/9/2010
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
A few months ago I composed the score for my first film, a documentary called To Be One. This was a small project with a tiny budget, a flexible schedule, and an easygoing independent director. This suited me fine though, because I didn’t really have much of an idea of how to proceed. But SCOREcast's Deane Ogden, Lee Sanders, and Brian Satterwhite helped me along the journey.
More of the experience, and a tool to share... after the jump!
The film was divided into three segments, each with a different composer. I wrote about 20 minutes of music for my 20-minute segment. Yes, wall-to-wall music. My director was in California and I’m in Texas, so we spent plenty of time on Skype. I hooked up my system to funnel the main audio out from my equipment into Skype, which allowed us to collaborate easily, as if he were in the chair next to me.
More of the experience, and a tool to share... after the jump!
The film was divided into three segments, each with a different composer. I wrote about 20 minutes of music for my 20-minute segment. Yes, wall-to-wall music. My director was in California and I’m in Texas, so we spent plenty of time on Skype. I hooked up my system to funnel the main audio out from my equipment into Skype, which allowed us to collaborate easily, as if he were in the chair next to me.
- 3/8/2010
- by info@jamesomusic.com (James Olszewski)
- SCOREcastOnline.com
We've been psyching ourselves up a competitive frenzy this month—so I thought I'd take a look around the edges and see if there are some areas where we shouldn't be quite so, well, competitive. Where we might do better to unclench a bit. Go with the flow. Let it come to us, rather than launching ourselves at it all gung-ho and crazy-eyed.
What I found, after the jump.
First off, I find a lot of composers these days (particularly composers who are just getting started) with their fingers on the trigger of the spam cannon. They're just blasting away, firing off demo packages to anyone and everyone who might have an active e-mail account. Filmmakers? Sure. They get demos… but so do music library companies, music supervisors, music editors, studio/network execs, and anyone else whose Hollywood Creative Directory listing seems to touch even marginally on the subject of organized sound waves.
What I found, after the jump.
First off, I find a lot of composers these days (particularly composers who are just getting started) with their fingers on the trigger of the spam cannon. They're just blasting away, firing off demo packages to anyone and everyone who might have an active e-mail account. Filmmakers? Sure. They get demos… but so do music library companies, music supervisors, music editors, studio/network execs, and anyone else whose Hollywood Creative Directory listing seems to touch even marginally on the subject of organized sound waves.
- 2/19/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
So… your demo is standing tall. Your people skills are honed, crisp and extra-sparkly. You've targeted a few level-appropriate projects, and maybe one or two "long-shot" gigs, just to start getting higher-ups familiar with your work. Your phone calls are getting returned, and the gatekeepers seem ready to say the magic word—yes.
Then, one by one, those gigs just… slip away. Black swans start cropping up in your work life—unforeseen interlopers that threaten to swoop in and snatch the fruits of victory out of your hands.
What—and who—are these unexpected competitors? Knowing about them—and how to compete with them—should be an integral part of your game plan. So let's take a look, after the jump.
1. The Budget Composer.
This person's a vulture—preying on productions whose budgets are tight. He swoops in fast and lowballs everyone else off the table. Sure, it's no way...
Then, one by one, those gigs just… slip away. Black swans start cropping up in your work life—unforeseen interlopers that threaten to swoop in and snatch the fruits of victory out of your hands.
What—and who—are these unexpected competitors? Knowing about them—and how to compete with them—should be an integral part of your game plan. So let's take a look, after the jump.
1. The Budget Composer.
This person's a vulture—preying on productions whose budgets are tight. He swoops in fast and lowballs everyone else off the table. Sure, it's no way...
- 2/17/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
I cherish "verbal economy". Getting to the bottom of something — to the core level of it — while utilizing the smallest amount of verbiage possible is something that I am profoundly fascinated with. It drives me crazy when someone is trying to make a point, and instead of stating the main crux of their position, they wax on with twenty minutes of preamble.
So, I'll try my damnedest to make this intro quick and to the point.
I am supposed to talk to you today about "competition", but I don't want to, so I'm not going to. Instead, let's talk about what the very core of the word "competition" boils down to: winning and losing. And there's a lot to talk about.
Here's the deal: Right this very second, as you sit wherever you are and read this post, one of two things is taking place in your life. You are...
So, I'll try my damnedest to make this intro quick and to the point.
I am supposed to talk to you today about "competition", but I don't want to, so I'm not going to. Instead, let's talk about what the very core of the word "competition" boils down to: winning and losing. And there's a lot to talk about.
Here's the deal: Right this very second, as you sit wherever you are and read this post, one of two things is taking place in your life. You are...
- 2/15/2010
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
It's exciting to be part of the SCORECast community, not only as a contributor but also as a reader/participant. The articles this month have been particularly vibrant and thought-provoking. One subject that deserves additional mention is the idea of "the day gig". It's fairly easy to understand why it doesn't get top billing. It's not the most glamorous subject compared to our core interest, and quite frankly most composers rightfully shy away from telling anyone about a day job for fear that it might be interpreted as "not being serious" about film composing. It's a traditional dirty little secret, but it bears some scrutiny because it can be such an important part of sustaining the effort to "make it" as a full-time film composer.
And even though I’ve been in Los Angeles for several years and have worked on my share of projects, I still need the steady...
And even though I’ve been in Los Angeles for several years and have worked on my share of projects, I still need the steady...
- 1/29/2010
- by tladiscuss@titanlineaudio.com (Houston Haynes)
- SCOREcastOnline.com
SCOREcast No.26
Podcast Shownotes
Original Air Date: January 28, 2010
Focus: Getting the Gig
iTunes Link
For our first show of 2010, recording engineer, composer, and SCOREcast contributing editor Randy Knaub fills in at the co-hosting chair for Lee Sanders. Deane and Randy give their Top Gear picks from their trip to the 2010 Winter Namm Show, and follow up on January's "Getting the Gig" discussions with their own insights. They also give us a sneak preview of what's to come in February — a focus on "Competition" during annual awards season.
Weigh in on this episode — we want to hear your thoughts! Head over to http://www.scorecastonline.com, check out this episode's shownotes, and log into the Comments to leave your opinions and participate in the discussion.
Product Links:
Vienna Ensemble Pro (Vienna Symphonic Library) Morphestra (Sample Logic) Digital Performer 7.1 (Motu) Ivory 2.0 (Synthogy) La Scoring Strings (AudioBro)...
Podcast Shownotes
Original Air Date: January 28, 2010
Focus: Getting the Gig
iTunes Link
For our first show of 2010, recording engineer, composer, and SCOREcast contributing editor Randy Knaub fills in at the co-hosting chair for Lee Sanders. Deane and Randy give their Top Gear picks from their trip to the 2010 Winter Namm Show, and follow up on January's "Getting the Gig" discussions with their own insights. They also give us a sneak preview of what's to come in February — a focus on "Competition" during annual awards season.
Weigh in on this episode — we want to hear your thoughts! Head over to http://www.scorecastonline.com, check out this episode's shownotes, and log into the Comments to leave your opinions and participate in the discussion.
Product Links:
Vienna Ensemble Pro (Vienna Symphonic Library) Morphestra (Sample Logic) Digital Performer 7.1 (Motu) Ivory 2.0 (Synthogy) La Scoring Strings (AudioBro)...
- 1/28/2010
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
For many of you reading SCOREcast, writing music is not a full-time job. You'd like it to be, but you just don't land enough gigs (yet). In fact, you're not even sure how to get yourself into the pool of available candidates for enough gigs, often enough, to make it a full-time profession. Read on for some ideas and a little perspective.
First off, some ideas.
One day you're toiling away, cheerfully losing money and hustling your ass off… constantly looking for ways to "plus the show" of your own musical endeavors while working a separate job (or two or three) to pay the bills. It's taking a toll on your energy level, but you're passionate. You're committed.
Before too terribly long, you see a tiny little payoff (beyond the endless chain of freebies and low-paying gigs that have so far seemed to be your lot in life as a composer). Someone finally says yes,...
First off, some ideas.
One day you're toiling away, cheerfully losing money and hustling your ass off… constantly looking for ways to "plus the show" of your own musical endeavors while working a separate job (or two or three) to pay the bills. It's taking a toll on your energy level, but you're passionate. You're committed.
Before too terribly long, you see a tiny little payoff (beyond the endless chain of freebies and low-paying gigs that have so far seemed to be your lot in life as a composer). Someone finally says yes,...
- 1/20/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Happy Holidays, SCOREcasters!!
As we enter the year-end news slowdown, we are looking forward to bringing you even greater in-the-trenches film music content as 2010 cranks up. We'll also be introducing even more new features to the site towards Namm time, so keep your eyes peeled and your ears open!
Thank you for visiting SCOREcastOnline.com throughout 2009 and for making Sco a regular part of your daily reading. Have a killer weekend, and we'll see you on Monday where we'll present the rest of "Gear Month" to round out the year!
- Deane Ogden, Lee Sanders, Jai Meghan and the rest of the Sco Crew...
As we enter the year-end news slowdown, we are looking forward to bringing you even greater in-the-trenches film music content as 2010 cranks up. We'll also be introducing even more new features to the site towards Namm time, so keep your eyes peeled and your ears open!
Thank you for visiting SCOREcastOnline.com throughout 2009 and for making Sco a regular part of your daily reading. Have a killer weekend, and we'll see you on Monday where we'll present the rest of "Gear Month" to round out the year!
- Deane Ogden, Lee Sanders, Jai Meghan and the rest of the Sco Crew...
- 12/25/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
Gear is, in a word, awesome. And I mean that in the literal, original sense of the word. When I walk into my studio—especially now that I've done some gigs and accumulated some sample libraries—I have a feeling akin to reverence. Not in an egomaniacal way (the High Holy Temple of Film Music! Look upon my works, ye mighty, and despair!), but just in terms of the incredible creative resource that room has become in my life.
There's something I think you should keep in mind, though, when you get to a similar point in your career: Your gear will not save you.
It won't save you from a lack of planning.
It won't save you from the unexpected.
It won't save you from a bad collaboration.
It won't save you from poor eating and sleeping habits.
It won't save you from the mess you may be making of your relationships.
There's something I think you should keep in mind, though, when you get to a similar point in your career: Your gear will not save you.
It won't save you from a lack of planning.
It won't save you from the unexpected.
It won't save you from a bad collaboration.
It won't save you from poor eating and sleeping habits.
It won't save you from the mess you may be making of your relationships.
- 12/18/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Here's something that goes somewhat against the grain of all the whiz-bang gadgetry we're focusing on at the moment.
Regardless of what Santa leaves beneath your technological tree this season, you'll eventually find yourself facing that blank canvas… once again, just like always. While a new array of sounds may inspire you to work just a little differently or try something just a little bit new, keep in mind: The gear is just a tool.
Here I'm building on the contents of a couple of recent Weekend Provocations, where I've wondered out loud about what it would be like to write music without the gear. If you noticed that these two articles (November 13 and December 11) were essentially the same, with slightly different premises, you get a big gold star.
Truly getting the most out of your gear involves more than just purchasing Shiny New Things. And, as Richard Bellis put...
Regardless of what Santa leaves beneath your technological tree this season, you'll eventually find yourself facing that blank canvas… once again, just like always. While a new array of sounds may inspire you to work just a little differently or try something just a little bit new, keep in mind: The gear is just a tool.
Here I'm building on the contents of a couple of recent Weekend Provocations, where I've wondered out loud about what it would be like to write music without the gear. If you noticed that these two articles (November 13 and December 11) were essentially the same, with slightly different premises, you get a big gold star.
Truly getting the most out of your gear involves more than just purchasing Shiny New Things. And, as Richard Bellis put...
- 12/16/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
This week I'm toggling off of Satterwhite's article yesterday. He said:
Under the right conditions, I would probably not think twice about abandoning most of my gear in order to escape the limitations it sometimes burdens me with.
So, the question: What if your gear was suddenly… gone?
I've been dealing with homeowner's insurance this week, so it's on my mind. The San Andreas fault is only a few dozen miles from here, and as far as I know that beast isn't getting any less seismically active. So any minute now this weekend's Provocation could be a horrific reality for me, and for a bunch of you La-based types who are reading this.
Would my process somehow be enriched by a brief (please let it be brief, oh please—!) spell without the comforts of my Mac and my sequencer and my sample libraries and my Waves bundle? Maybe. I'd have...
Under the right conditions, I would probably not think twice about abandoning most of my gear in order to escape the limitations it sometimes burdens me with.
So, the question: What if your gear was suddenly… gone?
I've been dealing with homeowner's insurance this week, so it's on my mind. The San Andreas fault is only a few dozen miles from here, and as far as I know that beast isn't getting any less seismically active. So any minute now this weekend's Provocation could be a horrific reality for me, and for a bunch of you La-based types who are reading this.
Would my process somehow be enriched by a brief (please let it be brief, oh please—!) spell without the comforts of my Mac and my sequencer and my sample libraries and my Waves bundle? Maybe. I'd have...
- 12/11/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Editor's Note: In the spirit of December's theme (Gear and Software), we asked our contributors to weigh in with their Top 3 gear finds and why they like them, and we are bringing them to you in a series that we are calling "My Perfect 3". Here are the three that Lee Sanders chose, and a short rundown on why he picked them.
Digital Performer
I imagine a lot of us will include our sequencing app on this list—and that's probably appropriate. If you write music at the computer, your sequencing platform informs everything else you do. Its importance is paramount. It has to be solid, flexible, and powerful… and above all, it has to serve any need you might conceivably have in your composing life. Digital Performer delivers for me on all counts.
For me this application has, over the years, become a transparent filter. I've worked with it for...
Digital Performer
I imagine a lot of us will include our sequencing app on this list—and that's probably appropriate. If you write music at the computer, your sequencing platform informs everything else you do. Its importance is paramount. It has to be solid, flexible, and powerful… and above all, it has to serve any need you might conceivably have in your composing life. Digital Performer delivers for me on all counts.
For me this application has, over the years, become a transparent filter. I've worked with it for...
- 12/1/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
Following on from the Top 10 Most Influential Scores of the Past Decade of last week, I'd like to take a look at how these scores, and many others have affected the creative output, as well as the creative process of a number of film composers - amateur to professional.
Lee Sanders wrote in his Weekend Provocation: The Locus of Cool, that "It's a truism that as artists we begin with an "imitative phase," in which we tend to mimic works that already exist." He continues that "somewhere along the line though, all the disparate influences coalesce into something new. Something unique to us". We become a new voice in world of music - we have something new to say, and something that makes us stand out from the crowd.
Have a look at the job offer below and take it in....
Scoring for film is a collaboration between director and composer.
Lee Sanders wrote in his Weekend Provocation: The Locus of Cool, that "It's a truism that as artists we begin with an "imitative phase," in which we tend to mimic works that already exist." He continues that "somewhere along the line though, all the disparate influences coalesce into something new. Something unique to us". We become a new voice in world of music - we have something new to say, and something that makes us stand out from the crowd.
Have a look at the job offer below and take it in....
Scoring for film is a collaboration between director and composer.
- 10/13/2009
- by noreply@blogger.com (Emmett Cooke)
- SCOREcastOnline.com
Hey SCOREcasters!
Just jumping on here real quick tonight to congratulate my friend, SCOREcast's very own Lee Sanders - composer of CBS' "The Amazing Race". "Race" won an Emmy award tonight as Best Reality Competition for the seventh straight year.
Lee's music is an integral part of the show and he has provided the signature sound of "Race" since Day One.
Congratulations to Lee and the rest of the Race team for another well-deserved win!
Just jumping on here real quick tonight to congratulate my friend, SCOREcast's very own Lee Sanders - composer of CBS' "The Amazing Race". "Race" won an Emmy award tonight as Best Reality Competition for the seventh straight year.
Lee's music is an integral part of the show and he has provided the signature sound of "Race" since Day One.
Congratulations to Lee and the rest of the Race team for another well-deserved win!
- 9/21/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
I've been thinking. I know... scary.
In almost every industry, the daily tasks of human production have been virtually replaced by automated systems that can do those same tasks quicker and cheaper. We are reminded of this almost nightly on the evening news as we watch them give the latest update on whether or not Gm or Ford is going to live to see another sunrise. The images of giant Transformer-like automatons welding hood ornaments and casting car parts is almost reminiscent of a few science fiction scripts I've read lately.
But, let's look in the mirror. Admit it. When was the last time you used automation as a short-cut to get from Point A to Point B in a cue? Was it yesterday when you used a looped drum groove? Or was it last Friday when you held down a key to record an arpeggio patch that worked perfectly...
In almost every industry, the daily tasks of human production have been virtually replaced by automated systems that can do those same tasks quicker and cheaper. We are reminded of this almost nightly on the evening news as we watch them give the latest update on whether or not Gm or Ford is going to live to see another sunrise. The images of giant Transformer-like automatons welding hood ornaments and casting car parts is almost reminiscent of a few science fiction scripts I've read lately.
But, let's look in the mirror. Admit it. When was the last time you used automation as a short-cut to get from Point A to Point B in a cue? Was it yesterday when you used a looped drum groove? Or was it last Friday when you held down a key to record an arpeggio patch that worked perfectly...
- 8/24/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
Traditionally, there have been "unspoken rules" governing what composers should and should not discuss in public forums. Looking back through my posts to the SCOREcast website, I see a theme in my work that suggests I like to break the rules. I guess it is inline with my original idea when I started the podcast back in 2006. I simply wanted to help other people getting into this business understand some of the lessons an independent composer might learn — both positive and negative — on this path of self-discovery that we call "scoring films", the ultimate goal being to bring to the forefront some of the issues that we composer types hate to talk about... and start talking about them.
After three years of doing this, and having now had so many great film music veterans chime in with their thoughts too, I now know for certain that those "unspoken rules" are cold-blodded career killers.
After three years of doing this, and having now had so many great film music veterans chime in with their thoughts too, I now know for certain that those "unspoken rules" are cold-blodded career killers.
- 8/9/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
SCOREcast No.21
Podcast Shownotes
Original Air Date: August 5, 2009
Focus: Workflow
iTunes Link
Composer Roundtable: Workflow
Roundtable Description:
The month of July at SCOREcast was all about "Workflow", so we thought it would be cool to get a bunch of working composers together to shoot the bull on what it takes to get the job done on their film and television projects. Get involved in the conversation by logging into the Comments section of the Episode Shownotes (http://tinyurl.com/scorecast21sn). We want to hear your take on some of these issues. See you there!
Roundtable Panel:
Deane Ogden (Los Angeles, CA)
Lee Sanders (Los Angeles, CA)
Randy Knaub (San Francisco, CA)
Steven Richard Davis (Los Angeles, CA)
James Olszewski (Austin, TX)
Products and Tools Mentioned:
Studio Tools
"Flip" Kvm Switcher (Belkin)
FaderPort (ProSonus)
Electronic Instruments
Usb Ewi (Electronic Wind Instrument) (Akai)
V-Series Drums (Roland)
NanoKontrol (Korg)
Trigger Finger (M-Audio...
Podcast Shownotes
Original Air Date: August 5, 2009
Focus: Workflow
iTunes Link
Composer Roundtable: Workflow
Roundtable Description:
The month of July at SCOREcast was all about "Workflow", so we thought it would be cool to get a bunch of working composers together to shoot the bull on what it takes to get the job done on their film and television projects. Get involved in the conversation by logging into the Comments section of the Episode Shownotes (http://tinyurl.com/scorecast21sn). We want to hear your take on some of these issues. See you there!
Roundtable Panel:
Deane Ogden (Los Angeles, CA)
Lee Sanders (Los Angeles, CA)
Randy Knaub (San Francisco, CA)
Steven Richard Davis (Los Angeles, CA)
James Olszewski (Austin, TX)
Products and Tools Mentioned:
Studio Tools
"Flip" Kvm Switcher (Belkin)
FaderPort (ProSonus)
Electronic Instruments
Usb Ewi (Electronic Wind Instrument) (Akai)
V-Series Drums (Roland)
NanoKontrol (Korg)
Trigger Finger (M-Audio...
- 8/5/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
As a media composer, work is like buses. There's nothing for a while, then three projects come along at once.
In the last six months I have been inundated with composing and sound design work for film and theatre and I am constantly thanking my lucky stars. This is exactly what I wanted when I started out many years ago.
Isn't it?
Stay sane in the midst of chaos!Just kidding - of course it is, but on a day-to-day basis it can be a little bit of a challenge to keep the many, many minutes of music flowing, pouring out your heart and soul on demand, whilst maintaining a vague level of sanity.
It's really, truly and utterly important not to take on too much work. The amount that will make all of your creative efforts suffer and, inevitably, life miserable (plus you'll likely get a rep and your...
In the last six months I have been inundated with composing and sound design work for film and theatre and I am constantly thanking my lucky stars. This is exactly what I wanted when I started out many years ago.
Isn't it?
Stay sane in the midst of chaos!Just kidding - of course it is, but on a day-to-day basis it can be a little bit of a challenge to keep the many, many minutes of music flowing, pouring out your heart and soul on demand, whilst maintaining a vague level of sanity.
It's really, truly and utterly important not to take on too much work. The amount that will make all of your creative efforts suffer and, inevitably, life miserable (plus you'll likely get a rep and your...
- 7/29/2009
- by noreply@blogger.com (Heather Fenoughty)
- SCOREcastOnline.com
On the heels of a killer column post from SCOREcast co-host Lee Sanders on Wednesday about "Surviving the Crunch", James Olszewski asked a very pertinent question:What do you recommend to develop a passable roadmap on a compressed timeline?... I'd like to get a peek at what one of these roadmaps looks like (even if it's just scribbles and random notes). Being the "planner" I am, I'm already thinking of some sort of template. Maybe something that takes you progressively from random notes to roadmap to spotting to cue sheet.... Does anything like that already exist?This is a great question, and one that could be met with as many different answers as there are composers that exercise this practice. In this post, I'm going to show you a handful of the things that I do in my work that help me achieve a cohesive plan when taking on a new set of visuals to score.
- 7/27/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
SCOREcast No.20
Shownotes
Original Air Date: June 30, 2009
Focus: Diversifying Your Composing Career
Featured Music
Francel Diaz Lenero · "Silver Trailer"
Composed for the "Ironman" trailer in Mexico
Francel Diaz Lenero on the Web
Segment 1
Introduction | Deane Ogden and Lee Sanders, co-hosts
Scorecastonline.Com Update
Segment 2
People | Justin R. Durban, composing for trailers
James Olszewski (interviewer)
Justin R. Durban on the Web
Segment 3
People | Steven Richard Davis, composing for daytime TV
Deane Ogden (interviewer)
Steven Richard Davis on the Web...
Shownotes
Original Air Date: June 30, 2009
Focus: Diversifying Your Composing Career
Featured Music
Francel Diaz Lenero · "Silver Trailer"
Composed for the "Ironman" trailer in Mexico
Francel Diaz Lenero on the Web
Segment 1
Introduction | Deane Ogden and Lee Sanders, co-hosts
Scorecastonline.Com Update
Segment 2
People | Justin R. Durban, composing for trailers
James Olszewski (interviewer)
Justin R. Durban on the Web
Segment 3
People | Steven Richard Davis, composing for daytime TV
Deane Ogden (interviewer)
Steven Richard Davis on the Web...
- 7/1/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
For 14 season, The Amazing Race has attracted millions of viewers to follow a ragtag group of adveturers each season, competing for the fabulous cash prize of 1 million dollars. One of the unifying forces behind the differently themed series' is composer Lee Sanders who provided both original and catalogue music for all seasons of the show. Getting the job after a couple of successful clips done for the Lord of the Rings website, The Amazing Race has been a great opportunity for Lee to deliver something exciting every week.
How did you get interested in music?
I was three years old—my next door neighbors had a piano, and from all reports I became addicted straightaway. I've been formally involved with music in some capacity since about age four, although I did dabble in several other majors as an undergraduate before settling into music composition.
What does your musical education consist of?...
How did you get interested in music?
I was three years old—my next door neighbors had a piano, and from all reports I became addicted straightaway. I've been formally involved with music in some capacity since about age four, although I did dabble in several other majors as an undergraduate before settling into music composition.
What does your musical education consist of?...
- 5/18/2009
- Daily Film Music Blog
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