Say you have a long relationship with a young director. You have laughed, cried and bled the proverbial ground in the editing bays through student projects, independent shorts, small documentaries etc.
Your director friend now has been chosen to direct his first feature film. To make sure he gets it right, the studio assigns a super producer with ample experience to cover all bases. Your director REALLY wants YOU to score this brand new project but is painfully aware that he is not the one calling the shots. How can you as a composer position yourself so that you end up being the logical choice for the project in question?
I humbly ask for your input and forgiveness if this subject has already been covered in previous posts. Thank you for your time and expertise.
*** UPDATE – March 29, 2016 ***
A couple a months ago I posed a humble question on how to handle a scenario were a friend of mine was directing his first film, but wasn’t the decision maker per se for all departments. Many of you very selflessly took the time to share priceless advice and suggestions on how to crack the proverbial code. I took all of the advice to heart, worked my butt off and presented my musical ideas with no expectations. And to my greatest surprise – I found out today that I got the job! Thank you everybody for your support, I am truly grateful!!! And then I happen to run into our own Richard Kraft and Julia Zuzanna Sokolowska this evening at the grocery store and got to thank them in person. Small World I have been the “sports music guy” for quite a while and don’t think I wouldn’t have been able to solidify this Gig if I hadn’t reached out to this forum and humbly asked for help. I hope this encourages more people to ask questions and inquire about how to go about things because we all face the same challenges from time to time. So thanks again.