johnnyboy

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Viewing 10 posts - 21 through 30 (of 84 total)
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  • in reply to: The Pitch #35616
    johnnyboy
    Participant

    I’m with Art on this.Never pay to play – never have and never will.

    John 🙂

    in reply to: ASCAP communication delays + legacy cues? #35615
    johnnyboy
    Participant

    I’m thinking that aspect of ASCAP is currently closed down. Try calling them.

    in reply to: Work Method – What’s Yours? #35584
    johnnyboy
    Participant

    Sounds like a good system johnfrancis! My best time for composing is mornings. Afternoons for recording and editing late afternoon/ after supper.

    in reply to: Work Method – What’s Yours? #35577
    johnnyboy
    Participant

    Actually 4 notes. And Beethoven developed it a little bit more than Jaws. Ha, ha.

    in reply to: Work Method – What’s Yours? #35574
    johnnyboy
    Participant

    Yes, I remeber that.I thought it worked well. A jazzy soundtrack. I’m thinking more in the classical piano realm.

    in reply to: Work Method – What’s Yours? #35572
    johnnyboy
    Participant

    Is the theme to Jaws or Halloween great music? Not artistically speaking, but I can’t think of any music that would work better for them. So I guess that proves the point that writing for film is quite different.

    Although, someday I’d love to do a complete soundtrack with piano only.

    in reply to: Work Method – What’s Yours? #35571
    johnnyboy
    Participant

    Ha, ha… that’s the beauty of these kind of threads – never know where they will lead. So what gets the most placements -:15, :30, :60 minute cues? – just joking.

    in reply to: Work Method – What’s Yours? #35569
    johnnyboy
    Participant

    You guys know more than I do about scoring to film. I mostly agree with you. The music has to work with the film. It’s been interesting guys!

    Best, John 🙂

    in reply to: Work Method – What’s Yours? #35567
    johnnyboy
    Participant

    “And writing for a library is no different ultimately than writing directly for picture. We are here to serve the story, serve the director, serve the producer – not be adored for creative “complexity”, “cleverness” or “genius” – LA

    Yes, and thank goodness there are many, many stories. I did a virtual orchestral track about a decade ago. Some musicians on a musician thread, said it didn’t make sense, that I should study theory, and that the music will never be placed. About two months later the music was placed and Marty Peters gave it a 5-Star rating for Recording Magazine. He said out of the thousands of virtual orchestra recordings they receive, mine was the best. Wow, did that fire me up. So, yes, there are many ears to hear our music, many scenes to consider, and many music supervisors that may or may not want our music.

    John 🙂

    in reply to: Work Method – What’s Yours? #35565
    johnnyboy
    Participant

    “We are not here to make artistic statements, but instead to support the story line and picture – and quite often, that requires backing off musically. That may be the hardest lesson to learn…” – LA writer

    I’d like to think both can be achieved LA. But yes, composing to film, is a bit different. But, it’s possible to think of the entire soundtrack artistically. The sum of all the parts could be the masterpiece.

    Best, John 🙂

Viewing 10 posts - 21 through 30 (of 84 total)