I was talking with a friend, who, on behalf of his brother, was asking for advice on getting into the industry. Specifically, his brother is the musician in the family while my friend is a more traditional businessman who sells product. My pal asked me, “How do you determine what to charge? I know that in my industry I have to do an analysis of what a product costs me to produce and how much profit margin I need to make to survive. If a music mix takes a certain number of hours and you can determine its cost to show the client, why can you not get people to pay for that?” This inevitably led to the train of thought that you charge what you are worth — a topic we have discussed here at SCOREcast many times in the past. But upon further discussion, I determined that in advising...
- 9/21/2012
- by Brian Ralston
- SCOREcastOnline.com
While The Black List may be getting most of the press from entertainment news circles when it's announced in December, there's another compilation of the best new ideas and writing being offered to Hollywood movie studios and producers. It's called The Hit List (Thl), and it differs from The Black List in one fundamental way: whereas The Black List (Tbl) is a list of the top unproduced screenplays in Hollywood, several of the screenplays on that list have been purchased or are in development.
Take a look at last year's Black List (Part 1 is here, Part 2 is here) and here we are, one year later, and several of the scripts that made the 2009 list will be coming out in 2011 -- or have already been released (like The Social Network or Due Date). The Hit List is different in that it seeks to give attention to spec screenplays -- that is,...
Take a look at last year's Black List (Part 1 is here, Part 2 is here) and here we are, one year later, and several of the scripts that made the 2009 list will be coming out in 2011 -- or have already been released (like The Social Network or Due Date). The Hit List is different in that it seeks to give attention to spec screenplays -- that is,...
- 12/12/2010
- by Patrick Sauriol
- Corona's Coming Attractions
I frequently get emails from burgeoning composers and new Los Angeles transplants either looking for a composer assistant position or just advice on breaking into the industry. I often agree to meet them (usually over lunch) and invariably get asked if it's beneficial to assist and/or ghostwrite for a bigger name composer. The advice I give them is almost always the same. It comes from my own years of experience working hard to establish myself in the composer world. A feat that I feel is not only difficult, but one most all of us are ever in the constant pursuit of doing.
I learn something new on every film and further hone my craft and skill with each project. There are some truly fundamental things I have learned in the last few years. Many years ago, fresh out of USC's Scoring for Motion Pictures and Television Program, I was...
I learn something new on every film and further hone my craft and skill with each project. There are some truly fundamental things I have learned in the last few years. Many years ago, fresh out of USC's Scoring for Motion Pictures and Television Program, I was...
- 4/19/2010
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
Don't Fade Away, starring Beau Bridges, Mischa Barton, Ryan Kwanten and Ja Rule, gets an original score by up and coming composer Brian Ralston, whose previous credits include 9/Tenths and Graduation. Ralston was brought in late in post-production and had less than a full week to compose and record the score. Don't Fade Away is a drama about a man who lost track of who he is when pursuing a musical career in New York. Luke Kasdan is the nephew of legendary filmmaker Lawrence Kasdan and Don't Fade Away is his first feature film.
- 3/6/2009
- by noreply@blogger.com (Mikael Carlsson)
- MovieScore Magazine
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