SUPER DELUSION

Roaming Comic-Con, I am reminded how much love there is for superhero films… and how few opportunities there are to score them.

Of the 359 films released so far this year, only around SIX are superhero pix.

So, unless your name is Giacchino , Tyler, Gregson-Williams, Beltrami, Balfe or Bates you didn’t score one of them.

And unless you become a major film composer with oodles of credits and important relationships, you aren’t going to be seeing your name after the Marvel or D.C. logo in the future, either.

So, I always roll my eyes when so many composers who don’t currently have Mr. Freeze’s chances in hell of scoring a superhero film keep blabbing about them, bitching about them, getting outraged about them and mindlessly fantasize about them as if this sliver of scoring opportunities are the only film music gigs that matter.

SNAP OUT OF IT…

While you are obsessively focused on a thimble-full of films, a shitload more are being scored every day. This year alone there have already been 359 feature films released in U.S. theaters… and we are still just in July!

In 2016 there were 736 films released!

And only a shred of them involved capes, spandex, cowls, masks, web-shooters or talking raccoons.

There are literally hundreds of other films in other genres to pursue. Literally hundreds of other films to build credits, experiences and relationships.

BE INTERESTING.

Personally, I am 100X more interested in speaking with composers with deep knowledge and passion towards a diverse spectrum of films. I love to hear their perspectives and approaches towards comedies and dramas and horror and documentaries and period films and musicals and rom-coms and sci-fi and indie films

The composers who fixate on just one or two genres are, frankly, boring walking clichés to me.

DEMO FOR ACTUALLY ACHIEVABLE JOBS

And I would rather hear your demo for almost ANYTHING other than how you would score a MARVEL, D.C (or PIXAR film for that matter). To me, those demos are fairly useless. Just looking at credits and industry relationships it’s obvious who might score those films.

While it is lovely (and fun) to occasional reach for the moon, doing that on a consistent and scattershot basis, without taking the earthbound steps that define most careers, is a recipe to a lot of wheel-spinning

And…

Demos for MARVEL, D.C. And PIXAR are wildly inapplicable stylistically to 99.9% of the hundreds and hundreds and hundreds of types of films NOT made by those companies.

WAITING FOR SUPERMAN TO SAVE YOU (and your career) IS FOLLY.

Those composers whose current careers keep them eons away from capturing a caped crusader should, in my opinion, enlarge their narrow focus and start taking the slow, unglamorous and deliberate steps towards expanding into having a vibrant and diverse film scoring career that goes beyond mono-vision fanboy/girl fantasies.

THE BEAUTIFUL IRONY

Scoring non-Superhero films is often the path to getting one.

Danny Elfman got BATMAN because of the relation he established with Tim Burton on the comedy PEE-WEE’S BIG ADVENTURE.

Christophe Beck broke into Marvel via his relationship with ANT-MAN director, Payton Reed, which stated with the cheerleading film, BRING IT ON.

James Gunn brought Tyler Bates onto GUARDIANS OF THE GALAXY by first working with him on the low-budget horror/comedy SLITHER.

WANT TO SCORE A SUPERHERO FILM?

Build a super career and super relationships first.