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Originally Posted by dullfangs  I appreciate the kind words, but I'm actually not interested in doing that sort of formal orchestral soundtrack work at all. I'm interested in the more esoteric, experimental type of soundtracks. |
unfortunately even the experimental film composers have a formal background - from Glass to Mothersbaugh. Having said that there are also orchestral composers with very little in the way of training - Elfman being one.
The main issue you will come up against is almost exclusively film composers come from two background:
1. the traditional understudy route - Don Davis studied under Silvestre for example. Invariably these types either have great training themselves or, if their training was more limited, surround themselves with the right orchestrators and conductors to facilitate production. So building a "team" if you like.
2. being well known in another area - Jonny Greenwood of Radiohead is a good example. Or Clint Mansell being in electro rockers Pop Will Eat Itself. Sometimes one can move from TV composition where the emphasis on training seems to have been replaced with owning a decent facility and "knowing the right people"..... My own business partner {and indeed myself} stemmed from this environment. Him from media composition, me from a successful band.
Without either of these two credential makers you're cut off from nearly {but not quite} all of the movie and TV work out there. Being untrained and not able to use an orchestra if necessary cuts you out of a HUGE array of work out there. There are very few and far between experimental soundtracks out there - and those that are in the offing tend to go to experimental ARTISTS rather than experimental composers who'd like to cut teeth in films.
So if I was you I'd be looking to develop myself as an experimental artists and over the next few years trying to make waves that way. You stand very little chance of getting anything other than a student movie otherwise.
So perhaps a regimen of:
a) doing things the hard way. So steering away from things other people can do - Like using VST instruments or common sample packs.
b) build a facility slowly around your unique way of working
c) find a trained musician/conductor to work with. Someone with similar goals. Zimmer, Williams, Davis etc etc all have unseen cohorts who work with them. Same with Glass etc etc...
d) DO the student films - but just be choosey!
e) put out a cool underground 38 minute album on vinyl only. Get it reviewed - become "niche" and quirky.
f) do something that GET's you noticed in the right circles. The Michael Brook example is a good one - inventing the "infinite guitar" gets people talking about ya!!
and
g) you are VERY young. Don't give up if it's really what you want to do. Very very few composers get feature films at your tender age. There are exceptions but even a 35 year old film composer is young!!
Oh and remember to listen to your director carefully - even when working for free. It's THEIR music not yours.