I once represented an extremely talented young composer. (Out of respect for him I am not using his name and PLEASE don’t speculate here about who it might be.)
Together, we had a few early successes in his career. He started forging relationships with new directors and working at the studios, consistently writing outstanding scores. Things were going quite well.
Then I got the call…The producer of the Adam Sandler film HAPPY GILMORE was fuming that my client had failed to show up for a meeting about potentially scoring that movie. I was dumbfounded. I had no idea where he was. Moments later he showed up at my office door bearing a list of names.
THE LIST
“I’ve been thinking,” he said, “Instead of wasting my time and talents on movies like HAPPY GILMORE, I’m willing to hold out to work only with these top directors. If I just work with them I will have a great career.” He handed me the list:
- SPIELBERG
- KUBRICK
- SCORSESE
- COPPOLA
- and a few other top geniuses.
He passionately explained he only really wanted to score great films like SCHINDLER’S LIST.
My advice was he should then score movies like GIDGET GOES TO ROME and TV series like GILLIGAN’S ISLAND and work with first-time directors on movies like SUGARLAND EXPRESS since that was the exact path John Williams took to get to SCHINDLER.
For about an hour we jostled back and forth in a debate that very much resembled what would later become posts on this Perspective Forum. He remained adamant about pursuing his game plan. I disagreed. And we parted ways.
THE BREAKUP
I was quite saddened by this since I really believed in him and had already invested a lot of time into his young career. I thought we were really building something special together.
But ultimately it was his life and career and I needed to just accept and respect that.
DECADES LATER
In the 23 years since then, that composer has yet to work with any of the directors on his list. Nor any other top directors. He had done about a half dozen low-to-midrange comedies for one of the directors he met when we worked together and not much more in film music.
This composer’s talent is truly extraordinary. And he is a sweet person. But, in my opinion, he lost so many opportunities for himself by having unrealistic expectations of how a career is built and grown.
CODA
The composer who ended up scoring HAPPY GILMORE was Mark Mothersbaugh who then went on composing for Wes Anderson and Marvel.
