Composers need to allocate their resources (time, money, focus) on a wide variety of gambles that have a wide range of odds of achieving favorable outcomes. The potential payout on those winning bets cover an enormous spectrum.
As a general rule, the safer the bet, the lower the winnings and the riskier the wager, the greater the jackpot.
So, when a composer is weighing how much of those time/money/focus resources to gamble, it is really important to decide what type of gambler you are.
COMPOSERS GETTING ESTABLISHED
If I were a composer trying to gain footing in a media composer career, I would place almost all my bets on things where there is a decent chance of getting the gig. I would mainly demo for smaller films off most people’s radars. Amassing scoring work is the goal. Winning the lottery is not.
Those composers should be aiming to stay at the table for as long as possible. I would set myself up to demo frequently on a large number of seemingly-obtainable projects. (with an occasional crazy longshot bet for shits and giggles).
ESTABLISHED COMPOSERS
If I were a composer with a fairly established career, I would mix things up between demoing for things with medium size odds and occasionally going for a longshot.
Those composers should try to keep the flow of work going, while also taking some big risks on some projects that could yield big results.
MAJOR COMPOSERS
If I were a composer in huge demand, I would pretty much only make a few targeted longshot bets to win me something outside my norm.
The downside of all of these gambles is that, unlike roulette, both the odds and the payouts are not determined and clearly defined.
Therefore, a fair amount of educated guessing is involved both is sussing out the risks and the potential payoffs.
CALCULATING THE ODDS
Here are some pointers in trying to guess the odds and payoffs:
1. There were 704 feature films released to theatres in the US last year. Major, established composers are going to score 99% of the ones from major studios. Unless you are one of those composers, try aiming for the hundreds of other films you that have much greater chances of you landing them.
2. Understand what they are looking for. A common mistake is making assumptions about a project. Unless the filmmakers/studio said “we are looking to hire X, Y or Z type of composer,” don’t project your own notions of what YOU would do if you were picking the composer (because those assumptions are almost always wrong).
3. Assume there is going to be a lot of losing bets. If you can land one job out of 25 demos, you are doing great. So you REALLY need to be set up and prepared to lose those other 24 jobs and not have it destroy you emotionally or financially.
4. Stop staring at that one big bet. You are putting too much of your resources on trying to land “the big one” while potentially missing lots and lots of other jobs if you were to put your bets on them with as much passion.
5. Don’t create your own sucker bet. Too often composers waste their time sending out lame music that doesn’t really stand a chance of landing a gig. You can’t control how your music will be perceived by others, but you should at least hedge your bets by only sending out music that at least you think is great.
6. Enjoy playing the game. People go to Vegas to try to win AND to have a good time. If you hate gambling, don’t hang out at casinos. If you hate risking your time/money/focus on trying to get work, don’t do it. That is a recipe for misery.
