1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
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Writing on dated (old School) styles

Discussion in 'Composition 1' started by Tomas Iglesias, Jul 4, 2019.

  1. Hey guys, catching up with masterclasses in 2019!

    So in this class Mike says that his style 'is not in vogue anymore' (or something like that). The class was filmed like 6 years ago. So my question is, is this still the case?

    If we like the old style (Goldsmith, Steiner, Poledouris, John WIlliams, Silvestri, etc) are we doomed to fail in the business? Should we study the old style if nobody uses it anymore?

    I once wrote a piano piece in the Style of J.S. Bach for Uni and almost got a fail. Don't want the same thing happening at work!

  2. All clients want/value 3 things

    1. Sound Amazing
    2. Done Fast
    3. Cheap

    All Composers want/value 3 things

    1. Interesting/ Artistic/ Soul nurturing projects that give full self expression
    2. Work with really great people
    3. To be be paid handsomely for their work

    You get 2 out of 3. That's the best you can realistically hope for IMO

    A client wants something amazing and done really fast..........make them pay thru the nose.

    Want it amazing and done for cheap. Well, I'll work on it on the side of other projects that pay more, they have to make it work with MY schedule

    Flip the other side.

    Want make a lot of money, and work with some cool people............... then don't be shocked if "blinky the bear" (or whatever else) is your gig.

    Work with really great people, artistic freedom and really creative innovative project ................then it is most likely a small niche work, that may need grants to even get it going.

    All 3 are possible and do happen, but they are the wonderful exception.

    On the surface I did not answer the question, but really I did.

    There is nothing to worry about because these 3 cover everything and it will work itself out.

    The work of (in particular) Goldsmith, Steiner, John WIlliams demand a lot of money because they demand groups like the London Symphony (etc.)

    So if a client wants that but cheap......your fucked.

    If you want to working with great people who are like minded about art.......they will tell exactly what they want, and play towards your strengths. The project will literally be designed with your creativity in mind.

    Basically, IMO, the whole premise of your question is one I see a lot on places like VIC, and it's fucked. It's guessing from the outside as if traveling to Mars.

    Focus on relationships. Not sure what you goals are (or interested) but I can't stress how important good relationships are.

    Once it's vague or general like "the business" .......it's just not very useful to anyone. Hollywood composers will say things more like
    "I know Jerry will want" (or other name)

    That's clear, specific and essential.

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