Keeping Score; A conversation with music makers who make music for film
In the nuanced world of music there is no clear path for the creative quest. At first glance you might think the only way to make a living is the never-ending cycle of writing, recording, releasing and touring - with the hopes of getting picked up by a major label. To some, that is a lifestyle and labor of love for many years. There are a few, however, who have forged their own way to make a living as a creative soul providing the soundtracks to our lives. We chatted with a couple of familiar faces in the music scene about letting their musical expertise and passions pay the bills by creating scores for films, video games, commercials, and more when they aren’t on stage moving crowds.
(Samuel Nobles photo credit Paige Walter)
Name/city you reside/pronouns
Samuel Nobles / Philadelphia, PA / he/him
What got you into making music for licensing, film, tv, video games?
In high school, I began getting interested in film and the idea of film as art. I started falling in love with specific films, such as There Will Be Blood and Eternal Sunshine of the Spotless Mind, and a big part of that was the soundtracks/scores. I've played piano since I was ten, so that instrument really began to lend itself to composition at that point - I started exploring melodies and movements that felt cinematic, which led me to write pieces in that realm. In college, I wrote and recorded an instrumental piano album, which a friend of mine shared with a director, who started using that music and hiring me for jobs in NY and LA.
What is one of the biggest challenges you face when creating music in this way?
The deadlines of writing for a film can be pretty stressful. Oftentimes there are quick turnarounds to meet festival submission deadlines or test-screening dates. While it can be tough to force creativity on a timeline, it's helped me to compose and record music quickly and by following my instinct.
What’s one of your favorite jobs you’ve ever done?
I really loved being a part of the feature film Greener Grass. It was created by my good friends Dawn Luebbe and Jocelyn DeBoer. We had worked on several short films leading up to this one, but this was our first feature film together and it became something we were all very proud of. The film premiered at Sundance Film Festival, which interestingly enough, was the first place where we got to meet in person. It's streaming on Hulu if ya want to watch it :)
What’s some advice you give to anyone looking to get into this industry?
I would say write and record as much instrumental music as you can. At-home recording setups are relatively inexpensive today, so having a collection of recordings to share with directors/producers/creators is really helpful. Similarly, more people are making films today, so you never know who you're going to run into that is looking for a composer. Also, sites like Vimeo feature a big range of films from a big range of directors. Try reaching out to directors or production teams that created films that speak to you, and share your music with them.
(The Lunar Year in their home studio courtesy of artist)
Name/city you reside/pronouns
The Lunar Year, Philadelphia, she/her
What got you into making music for licensing, film, tv, video games?
My first experience was in 2018 when I had a song placed in a few tv shows. It sort of started the spark for me. Over the past few years I learned how to record myself and started working with Jennifer Pague and her company Cathead Noise: who has introduced me to more work in the field of sound design and music for visual art, film and commercials. https://www.jenniferpaguesounds.com
What is one of the biggest challenges you face when creating music in this way?
Writing for animation is a much different process than writing for your own creative project. Attention to detail and preparation are key. And being comfortable with rejection! Not everyone is going to like your stuff and you have to not get super attached to ideas.
What’s one of your favorite jobs you’ve ever done?
I recently scored a short film called The Greatest Poem. Everyone on that project was amazing to work with, plus it was my first film so I feel proud.
What’s some advice you give to anyone looking to get into this industry?
There are multiple ways to go about getting into this field of work, but one of the biggest things I’ve learned is to be prepared for when opportunity strikes. Often a door will open when you aren’t expecting it. if you’ve been taking care of the music you’ll be ready to take those opportunities
The Greatest Poem
