HOW TO WRITE MUSIC FOR FILM

A GUIDE FOR COMPOSERS & MUSIC LOVERS

Hi! I'm Cathryn and I'm a composer.

If you ever wondered "how can I become a composer?" this is for you. The truth is, there isn't just one way. As a girl I dreamed of the stage. Later working as an actress before finding my way to composing. Looking back, I see the signs were there. Music set my imagination and curiosity on fire. At eight years old, I watched Amadeus (1984) and was inspired. I conducted imaginary orchestras in the garden like a mini maestro. I learnt the pieces on my school's electric piano by ear. My friends and I made little shows - love stories told through dance. Epic battles play fighting as the music soared. These games were the foundation which led to my life as a composer.

How I got my first composing job

As a multi-instrumentalist, I've performed with orchestras, choirs, theatrical tours and at open mics. I have written music all my life, but never considered pursuing music professionally. I didn't see female composers -- I didn't believe it was possible. Then in lockdown, I did an online acting course. One day I couldn't do it. It was the worst self-tape EVER. I panicked and turned it into a song. By chance, one of the actors in the class loved it and said they needed a composer for their radioplay. I'd never written music for others before but the world was shut down, so why not? That collaboration led to my first short film. So the first thing you should know is:

"Stay open to life, you never know where an opportunity may present itself..."

HOW TO FIND WORK AS A COMPOSER

This is the question I get asked most. (Sometimes I'm the one doing the asking!)

• WEBSITES: Arts Jobs UK, Sound & Music, UK Music Jobs, Social Media.

  The Musicians Union UK is brilliant for career advice and support.

  
  

• FEMALE COMPOSERS: I highly recommend joining The F - List and

  The Alliance of Women Film Composers. They're both great resources and allies.

  
  

• NETWORKING: I know, it's annoying but you have to get yourself out there.

HOW TO GET DISCOVERED AS A COMPOSER

We've all had that conversation "Oh you write music? Cool. Where can I hear your stuff?" YOU HAVE TO PUT YOURSELF OUT THERE and be discoverable. If you don't have an online presence, how can people find you? The technology is there, use it. Be brave and share your music. Try not to compare your timeline to others, allow yourself to grow.

• HAVE A WEBSITE - a basic free one is fine. We need your name. A photo. And a playlist where we can hear your best tracks. If you can't write in every genre, that's okay! Sharing a couple of your best tracks is better than twenty so-so ones.

  
  

• SHARE YOUR MUSIC - on YouTube. Soundcloud. Tiktok. Vimeo. Instagram. We need to see you making music. Even if it's just playing guitar in your room.

  
  

• SELLING YOUR MUSIC - Bandcamp is fantastic. Choose a distributor (ie. Ditto music, Distrokid, Routenote, etc.) to get your music on streaming platforms like Apple, Spotify. Research which is right for you. Ask people who use it if you're not sure.

  
  

• MAKE YOUR OWN MUSIC VIDEOS - you can film industry standard footage on your phone now. You can use Garageband or other music software to make music on your phone. If you're not great with a camera, use royalty free footage of cities or nature. We are visual consumers, music with pictures can perform better. Experiment. If you want some inspiration watch this Ted Talk below:

HOW TO BUILD YOUR MUSIC PORTFOLIO

Start small. A simple video on YouTube. Originals or cover. Whatever you enjoy. Look to others to learn but don't obsess. Focus on what lights YOU up, go from there. If you want to have a video demo reel but you haven't scored a film yet. Don't worry. There are ways around this. Pick scenes from your favourite films and re-write the music. You can find clips online without audio. This is a good practise opportunity.

FILM COMPOSING COMPETITIONS --

I have done a few. Composers are given a scene from a film and you write the music. Prizes are cash, or music software. If you don’t win, these are still great. You keep the footage and can share it online. It shows directors you understand how to write for picture. Practise writing music that “hits a moment”. Maybe a character's being chased - a bullet misses them and you accent it with crashing cymbals or a high violin note. That’s “hitting the moment”.

NB: Be careful with competitions. Some are unnecessarily expensive. There are great free/low fee ones. Do your research. Don’t worry about feedback. It’s one person’s opinion. The point is what you learn from it. So whatever happens, don’t lose hope.

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WHAT HAPPENS ON YOUR FIRST FILM

Congratulations! A director has taken a chance on you and asked you to score their film. The important thing is, they chose YOU. So have faith. They saw your potential. Even if you’re scared you don’t know enough — trust you will figure it out as you go.

When I got the opportunity to score THE LEMON CAKE SOCIETY it was my first short film. I was excited and terrified. I had this idea you had to be some maestro genius before you were worthy of the title of composer. I couldn’t write music by hand. There was lots of googling terms like spotting session. Then there was the technology. Mixing, compressing, what’s EQ?! — they sent me into a tailspin. If this sounds like you, remember this is normal, it’s the journey.

STEP ONE - WATCH THE FILM

Watch the film. Let it wash over you. Have a pen and paper to hand. At this stage, you’re not writing down music ideas (unless the film sparks any). It’s about your first impressions. What is the film about? What scenes or dialogue hooked you and why? Are there films it reminds you of? Scenes reminded me of James Newton Howard’s score for Peter Pan. I wanted that vibrant energy, the playful woodwinds. What are the big emotions and themes? Do any moments jump out to you as needing music? More importantly, do you feel any scenes should be left as they are? Knowing when NOT to write is just as important as knowing when music is needed.

ARCHIVE - NOTES ON THE LEMON CAKE SOCIETY

STEP ONE, B - WORKING WITH A DIRECTOR.

Before you say yes to a director, remember composing takes up a lot of time. You may be working together for months. You need to have good communication. Can you be honest with each other when things aren't working? Can you focus on solutions not conflict? You are auditioning them as much as they are auditioning you.

Ask yourself if this story is worth your time. These are the kinds of collaborations I value. You'll also need to learn when to compromise. Figure out your values and don't be afraid to share your ideas. You may both be surprised at what you can achieve together.

STEP TWO - THE SPOTTING SESSION

This is when you watch the film with the director and you “spot" moments in the film you think could have music. A spotting session is an opportunity for you and the director to get on the same page. To give yourself a map of where you’re headed. Narrow down your possibilities instead of being overwhelmed at the possibilities. Of course — this changes as you progress. You may realise a scene doesn’t work with any music, or another scene would now benefit from having some musical ambience.

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TEMP TRACKS

The director may have temporary tracks synced to the film. This is music from other films, pop songs, or instrumentals. A director uses temp to show you the musical style they want. This practise is hotly debated. Some composers love it — it helps you figure out what genre to write. Others hate it. I think it can help you know what the director wants. Sometimes it’s a nightmare. If they’re too attached to temp — they struggle to see what YOU can offer and the film loses the chance at something an audience perhaps hasn’t heard before.

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STEP THREE - WRITING THE MUSIC

The blank page freaks composers out. “I could write ANYTHING.” At first it’s exciting. Then the fear comes. How do you know what to write?! You’ll have to figure this out for yourself. I can only share my experience. Depending on the schedule, I like to sit with the film for a few days or weeks. Think about the story. Try artwork, books, random music against the film. Things that help me connect with it and spark my imagination. Then one of two things happens. BAM! An idea explodes. Sometimes just a chord on the piano, or an entire piece and I’m running to record it in a voice memo. The second thing — no music comes. This sucks and is where craft comes in:

Days of inspiration are wonderful. The muses smile on you.

But you need a plan for days when the music isn't coming...

STEP FOUR - WHEN THE MUSIC ISN'T COMING

Danny Elfman (Edward Scissorhands, Beetlejuice) has a great tip on getting started. In his MASTERCLASS he described it like an artist building a palette of colours before they begin to paint. Except for you it’s a palette of sounds. Make a list of instruments and sounds you want to try use. Narrow your choices down at first to help you start.

Another trick I like is to play like a toddler, not a master...

Sit at the piano (or whatever your instrument of choice) and just PLAY. Make shapes with your hands on the keys. Play any random notes. You’re not seeking a tune. You’re playing with texture. Rhythm. Vibration. It’ll feel silly. Like a child bashing the keys. You have to free your subconscious. No judgement, or demanding a symphony from your brain. Eventually you’ll hit a sound that makes you go “Oo, what’s THAT?” Follow your curiosity. Build and build. Brick by brick. Note by note.

DEALING WITH ANXIETY OR IMPOSTER SYNDROME

I want to be honest here. I’m not someone who’s great at music theory. I know I was privileged to have music lessons as a child, but theory never stayed in my head. I write by ear, through experimentation. There’s still lots of negative snobbery. As if you’re less of a musician if you can’t read sheet music to the standard of a concert pianist.

I still have days where I feel inferior to musicians who write in the traditional way. One of my dreams is to have my music performed by a live orchestra. I told myself it wouldn’t happen if I couldn’t write by hand like John Williams. But there ARE people that can help you adapt music from your DAW. I read music a little, but many highly successful musicians cannot. Bob Dylan, Aretha Franklin, even The Beatles.

"None of us could read music ... none of us can write it."

- John Lennon

Please, DON’T HOLD YOURSELF BACK. Music is about feeling and connection. A lot is expected of musicians today. The Lemon Cake Society also became my first album. I played every instrument, mixed, produced it. Painted the album artwork. IT WAS NOT PERFECT. But I learnt far more from my imperfect offering than I ever would have if I hadn’t even dared to try. In this career there will always be more for you to learn. There will be people who are better musicians, better at business than you. Focus on what you do best. What is within your control. Celebrate what you are good at, instead of obsessing over what you haven’t mastered yet. Your time will come. Share your music and have fun.

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I hope reading this is helpful. If you’d like to hear the music from the film the link is below. If there’s anything you’d like to know, say hello in the comments.

Thank you and keep creating! Cathryn

LISTEN HERE: https://ditto.fm/the-lemon-cake-society