I'm sorry, but this is a load of romanticized bs. The industry is defined by dog eats dog mentality, just like in the mafia. You are right when you say that we must keep our mouths shut, but that's only because we will never work again with the "big boys" if we speak up about the unjustly practices of ghost writing, obligatory royalties seizing, etc. Remember Klaus Badelt, you know - the original composer of the Pirates of the Caribbean theme tune that everybody thinks Hans Zimmer composed? Yea, that guy. He used to ghost write for papa Zimmer back in the day, then he got his own gig, then he just faded out more and more into obscurity. This is what happens when you upset godfather Z. The story is even more weird. Initially, Alan Silvestri did an almost full score that was rejected. Remember Gabriel Yared? Yea, didn't think so. Outstanding composer; he was the original composer for Troy, researched and worked his soul for that crap movie, he was ousted by the studio in the final four weeks and James Horner was brought as a composer because they probably needed a name with a bigger resonance -pun intended- and they also probably wanted Josh Groban for the final pop song. He spoke out, faded away. Remeber Benjamin Wallfisch? He did the score for the new Blade Runner sequel, then papa Zimmer comes at the last minute and slaps his name on the poor guy's work. They said that Ben's music needed a bit more refinement, but if you don't have chewing gum glued in your hair, you know that's total bs and the studio, again, needed a name with a bigger resonance. Remeber Junkie XL? Of course you do. Best palls with the almighty Hans. Now he flies high getting gigs after gigs, even though that man's musical abilities are of a fifth grader. His music boils down to 50% sfx, 50% synth pattern matching and 100% unnecessarily compressed armageddon drums, proof that you can be musically illiterate and still reach the mansard. Conclusion It's a big, old and established mafia. Hard work by it's own will not get you very far. You gotta do the dirty dishes forever and be willing to swallow some really bitter pills if you want to climb. Less than 0.1% will make it to the top.
Nae Dolor fascinating post here. I think with the whole of show business there’s four aspects: hard work, ability, your ability to deal with people and luck. Who knew Shrek would be such a hit for example? You take it on and you never know. But Harry worked hard and long hours to make sure he was in many places and would one day be in the right one and at the right time. He’s a very talented film composer and a lovely man who works well with I imagine some fairly colourful characters... oh and he came from HZ’s camp and is still working on mega stuff just like Lorne, John Powell and a whole coterie of composers. I don’t know the Klaus thing but knowing Hans would tend to think there is probably another side to that story you’re not partial to. The Yared thing... well again I hear a different story with bad cards at a preview, it’s shitty but hey you’re not a pro until you’ve been fired. The way that Gabriel responded to his firing though rightly or wrongly may have limited his chances with studios going forward. And as for Junkie... well the thing is... and this vlog is testament to this... writing great film scores isn’t always about writing the most meticulous conservatoire educated music. His scores are loved and are part of the success of the films he’s working on which is why I suspect he’s asked to do more. Whikst you may feel his beats and the compressed drums are nothing special he had a hugely rich heritage in edm which gives him an edge that I would challenge any of us to simply copy. It’s like saying Ry Cooders score for Paris Texas is invalid cos all it is is a guitar with a bottle neck and anyone could do that... so thanks again for your feedback. Whilst we differ on most of your points I agree that it’s fucking tough and knowing what I know with numbers of spitfire users I’d say your estimate of 0.1% is somewhat generous. All the best CH
@@TheCrowHillCo Wow, Cristian Henson actually wrote me back. I gotta play the lottery or something :). Ok, so yesterday when I wrote this post I was really tired and upset and my "tone" was quite harsh and I came of a bit too abrasive and I'm sorry for that. Firstly, I enjoy your content and you come across as one of the "good guys". Secondly, I try as much as humanly possible to observe and not to judge, but I'm not always successful, as is nobody living. When I do, I like to think that I'm not a total hypocrite and that I consciously acknowledge this fact and try to internalize a logic and come up with rational reasons of why I do it. I'm really trying not to make a claim that this way is right and this way is wrong, or this is absolutely good or absolutely bad. Reality is always somewhere in the middle. So, when I pointed out my examples, I wasn't assigning blame, even though now re-reading it kinda sounds like that, but I was rather trying to show what I perceive to be relevant events that show the dark side to this industry, an antithesis to your eloquent and idealized speech about the matter at hand. Thirdly, regarding Mr. Tom H, he's just a symptom of modern trends and sensibilities, a pertinent example. My problem is not with Tom the man, my problem is with the fact that while he's hitting numbers with six zeros, I'm not even making spare change compared to that. I've spent twenty years of my life in music schools and I get debt and a couple of Kontakt libraries to show for it and maybe some above modest gear. You mentioned his vlogs; please don't you tell me that you do not cringe every time he's playing a keyboard, or when he's trying to talk harmony. This level of dilettantism at the top level blows my mind. In this regard, I feel it's like Uwe Boll trying to give directing lessons. Give John Williams pen and paper and he'll write you symphonies, give Tom pen and paper and he'll doddle emojis. Chris, you can't ignore this fact, especially when you are a man of music and you know what's going on. However, I will acknowledge your point of view and recognize the fact that his body of work is appealing to the masses and has a certain personal aesthetic which is unique, but again that's not saying too much, it's just glorified appearance over essence, a recurring theme in this day and age. It all boils down on how value is assigned and by who, the hardest conversation I will ever have with anybody. Overall, the idea I feel is that we can't ignore each other's arguments, but there's a humongous wage gap inbetween brought on mostly by conjecture, where vocation or knowledge have close to zero weight. There's way more to say here, but I'll just stop for now. Cheerio
Nae Dolor I think you may be looking for a lot of art when the emphasis in many cases is on commerce. If it is effective given the movie and the audience likes it, then its level of formal sophistication is really besides the point. That’s not to say that art and commerce can’t co-exist, or that commerce must exclude art. It just often isn’t the point at that level it seems to me. Nice when it happens, but....
Your attack on Junkie XL seems to stem more from your own career's path than what he has or hasn't done in his. Time to swallow the reality pill. Composing is a tough business, but with that kind of attitude you'll never go anywhere, no matter how good your musical abilities are.
Great video Christian. I did a bit of ghostwriting for a well known composer back in the mid 90s, and whilst it was frustrating it taught me a lot about hierarchy and ego. It's a rite of passage, like any apprenticeship.
Not directly relevant to this video Christian, but just wanted to thank you with all my heart - I won the Everything bundle in the Tombola! Am still in shock. I wasn’t watching in my bedroom or in my pants (although the pants I was wearing at the time may have changed colour a bit during the draw). I do have one complaint - no sign of the thigh slapping beatbox!! 😉 Have now ordered The Spitfire Annual to complete the collection fully. Spitfire, to me, is like the Factory Records of the sample library world (except, crucially, with good business practices as well as the wonderful aesthetics). I can pay no higher complement. My only problem now will be how to use it all without getting lost in it, but I’ll give it a damn good go!
I'm always impressed at how translatable your observations are to other industries, beyond composing. For me, not a composer, but a scientist, the idea of ghost-writing for the professor (head of department) is one that has remarkable similarities to the scenario you describe, and I agree with almost (1 caveat) everything you said, from both sides of the relationship. I've been in both positions, and have indeed reciprocated others with future work in the way you describe, and have myself been the subsequent beneficiary of opportunities, based on my efforts when as a junior. So, I'm in complete agreement; that is, up until the point of "if you have 8 hours until 4am, use every one of them". I totally disagree there. I, like you, have lived the life of sleep deprivation for the sake of work, and even as a scientist working in a relevant field, have only recently become aware of the dramatic health risks that lack of sleep represents. As heads of departments, it is up to us to ensure that our junior colleagues do not have the expectation of this, and that we are actively involved in breaking this cycle. I'm sure we all feel, 'yes, but my job is different, you don't understand the deadlines, the short turnaround' (certainly applies in my industry) - but whilst those in positions of power continue to accept that misguided and self-perpetuating logic, the unfortunate status quo will thrive. We all have to be the change, and take seriously the health and well being of those in our charge. By the way, just bought eDNA Earth, and it's f***ing amazing!! Thank you!
I've done the up for days thing way too many time, to the point of slipping into a dream state while standing on my feet with my eyes open (no drugs other than coffee involved). I once remember being at the end of copying out a big band chart I had written (before computers), staring at the bari sax part in a lot of flats in bass clef on my C score, attempting to transpose it to Eb in treble clef for the player and something that would have been a piece of cake when I was well rested made absolutely no sense at all. The idea of taking a stand on things and not doing it again is attractive, but the biz doesn't understand that. If you can't do it, or if you're unwilling to do it, the clients will find someone else who will. End of story. If you're big enough and well paid enough to be able to hire lots of assistants (who WILL stay up all night), that's one way out of it. But music budgets are really being sliced to the bone, and that tends to mean fewer people working harder. It really is something for people wanting to get into the biz to consider. If you can't handle the crazy work schedule, and if it would destroy your family and relationships, maybe this isn't the career for you. There are some people who can tolerate it when they're young and breaking in, but generally, it gets harder to do as you age. I definitely believe some people have constitutions that make it more possible to get by on less sleep without going nuts.
I thought the job of Professors was to give therapy to the ones aiming for a PhD or Postdoc research! ;) Not sure if you are in academia but if you are. Thank you for contributing to research :) My MSC drove me into depression! literally. Very tough job.
Creating music is how I feed my family. I believe there's a bit of "Ghost Writer" in all of us. Face it no one can really do it all alone without a little help from someone or somewhere. I try to give my best effort in to each project I work on. I'm always open for suggestions and like working with people who are open to fresh or out of the box ideas. Like to see your unedited video on this. Great post!
@Christian Henson Music I've been binging your channel for the past couple of weeks and I think you are a truly great guy-talented, charismatic and funny af. Although i learned a lot from all of your videos-this one is definitely the most valuable one as it has changed my life/ put it back on track. I just saved up some money and wanted to throw it all into gear & libraries and give composing my best shot. I was literally getting ready to go and buy SL88grad before watching this video! After watching this I am happy to remain an ordinary guitarist and steer clear from the world you described. I could never take credit for someone elses work, or respect someone who does. Thanks a bunch for helping me realize the true colors of the world i quite possibly idolized a bit too much. Keep making the vids as they are among the best content on youtube. Even my wife got hooked after seeing the funk episode. I wish you and yours all the best and thanks again!
As a student studying Composition currently, this video is truly invaluable. More than likely I will find myself in a similar situation as this and I'd always worried about how to handle things. Honestly, I expected to either say nothing and miss good opportunities or push my agenda too hard and get fired, but now I think I know where I stand. Christian, I'd benefit massively from other videos like this; your experiences with assistants, is it really just running around and getting coffee, are there other, more efficient ways of breaking into this world. Thanks again for all your videos, they really are the dog's bollocks.
I totally concur, Christian. The whole message here is to shine as one who can be relied upon amidst all the muck of the industry where so few can be trusted. There's plenty of talent out there, but so much of it is pumped up and lacks integrity. Your really promoting a tenet of basic marketing..."finding a need in you community and fulfilling it". Fulfilling an essential need that is hard to find is the key to the road to success in any field in the long haul...and in the end, it is the long haul that really matters for steady compensation. A good friend of mine is a key Hollywood illustrator that has done poster art for some of the biggest major films over the last forty years and typically doesn't receive less than six figures for his work. He has tried a couple of times to retire, but the industry loves and respects him for his humbleness and reliability, and is always pressuring him for more great work that keeps him busy to this very day. It's all about posturing oneself as a trustworthy and dependable professional in a world where there is so much backstabbing, greed and ego.
I have mixed feelings about this. On one hand I agree with your premise. On the other hand, my own personal experience tells me that you have to take it on a case by case basis as some 'HOD's are honorable and others, not so much. Also a person need to take stock of what the ghosting is actually doing for their careers because there are some 'HOD's who actively do not want your career to grow. I have written close to 50 theme packages (my own melodies, harmonies, orchestrations, performances etc) over the last decade for national sports networks here in the USA and while I received a portion of BMI for these tracks, most of the credit in the industry went to the producer who I worked for while I remained mostly anonymous. So the upshot is that at some point a composer needs to stop ghosting and go out on their own.
Problem is, "going out on your own" involves jumping on a lot of airplanes, time on the phone, time spent promoting, time developing a flashy web presence, hiring and conferring with consultants, hiring salespeople, playing golf with influential folks, setting up meetings and showings, and wining/ dining/entertaining clients. In short, an awful lot of things that have nothing to do with being a composer or actually making music, and a lot of additional business worries outside of music.
I'd say that the largest proportion of my current income / employment arises from the ghost-writing role that I was happy to adopt earlier in my career. Ghost-writing for two established composers when I was still in my teens was a life changer. I felt very privileged to be able to hear the music I'd worked on being played and recorded by some of the best ensembles in the country. Things shift when you get this chance; confidence improves, outlook changes, more opportunities seem possible....I was also developing an awareness of the music business, etiquette included. Getting close to the heart of things in the production process was so invaluable. An effective ghost writer would ideally share a common understanding of a composer's vision and then have the technical means of achieving this. Thereafter, as you suggest, a feeling of gratitude should be prominent. Thanks Christian, as always, for your commitment and energy.
Very interesting topic Christian! I spent 20 years working as a Cinematographer/DP (a parallel dept head) and the protocols are much the exact same. I only work with people who I know will bring their utmost dedication and creativity in the Camera and Lighting teams, and ALWAYS work their ideas through me, rather than pipe up with suggestions on the day. Its important for all to understand that innumerable hours of conversation and debate have gone on before the day of shooting between the Producer, the Director, and myself (DP). That context informs every single of the thousands of decisions that must be made while on-set. That said, I openly encourage my gaffer to suggest lighting setups and my 1AC to let me know any brilliant camera moves that inspiration has brought. I'll consider them and decide if they fit into the larger context that I have agreed to work within for the Director's vision we are all there to create and enhance. None of those suggestions, however, would warrant individual recognition and compensation beyond what has been agreed to for that particular project. I think this is very similar to the hierarchy and protocols expected of everyone working in the music dept on a picture. Some comments in this thread exhibit bitterness at the potential for abuse, but in my experience it happens, but everyone learns and moves on positively or negatively from such results. Getting fired or having your work used to elevate someone else hurts, but the way we respond to that determines to a large extent, our potential to become one of the lucky .01%ers. Working in the entertainment business is not a meritocracy where the best talent always rises. Talent is a given, but to have any hope of reaching the top a person must also have strong and inspiring leadership skills that keep their teams working at the highest levels in hard times, is an excellent communicator, can sell themselves and their ideas to those above and below them, are great working with producers and directors and can do a good lunch chat, are fun and illuminating to be around, and always hold the director's vision as the top priority.
I've never liked ghost writing and i would like to quote Mark Northam from "Film Music Magazine" which pretty much sums it of what i think about this subject. "We can contrast this to the far more ethical practice of hiring additional composers for a project, where the additional composers are hired, paid, and are listed on cue sheets as the authors for the music they wrote. If they co-wrote with the hiring composer, then both are listed according to the amount of original creative material from each composer contained in a cue. They often appear as “Additional Music By” or “Orchestrators” in the screen credits, but most importantly they are able to claim official authorship or co-authorship of the music they write. I have absolutely no problem with the practice of hiring additional composers, which I consider to be the fair and correct way to handle things when a composer is forced by time constraints or other reasons to hire additional composers for a project."
Great advice. Well, the first thing is always start. If the "made" composer is good and nice, you may learn a lot of things and enjoy yourself. Of couse, if it's the other way around it could be hard. So, "made" composers of the world, make your ghostwriters proud! Thank you for your video!
Rule of Two “Always two, there are. No more, no less. A master and an apprentice.” I really like the tradition of apprenticeships and the person you are bringing up first assisting, then helping, then co-creating and then doing their own thing. I am a computer game music enthusiast (Blake Robinson’s ‘Synthetic Orchestra’ led me to this channel) and I’m seeing it more and more in that realm. Case in point: Hans Zimmer and Loren Balfe for the Battlefield V Multiplayer Trailer (Flipping epic). I’m pretty sure that was all Balfe.
Sam Williams was referring to the multiplayer trailer of Battlefield V which was credited to Hans Zimmer and Loren Balfe, at least the link I saw. Blakus is also Blake Robinson....or another Blake Robinson?? Confused. Are they the same person or two different people?
@@Obosii Maybe there were two trailers then, but if you check his instagram (Blakus) he just posted a video about the multiplayer trailer saying he was happy his music was used in it! They're both called Blake Robinson which is really confusing, but two different people yeah!
He was talking about the ‘launch trailer’ from 9 Nov. There have been several trailers over the last few months. If you type in ‘Battlefield v Multiplayer Trailer’ on TH-cam you’ll find the one I’m referring to. If only that was the first trailer they released maybe they would have avoided the mountain of negativity and game sales wouldn’t be doing so poorly.
I've been a writer behind the scenes in the pop world, and it definitely opened up more connections and opportunities, all certainly based in the courtesy and respect you mentioned. Great vlog as always, Christian!
Interesting post Christian. I'm a music producer, and see a lot of parallels with media composing. I've heard of peers in similar situations "ghost producing" people, and in some instances there have been individuals that would like you do something with "exposure" being the carrot that is dangled in front of them. This is usually "exposure" with very little if anything in the way of composition. I'm new and offer my services to bands and musicians that have little in the way of budget, and I consciously choose to do this pro bono in some of those instances. What of those that might offer this as the carrot only? I suspect that many a composer has had to deal with this scenario, and figured it would a worthwhile question to explore even for newly minted composers.
Joe Maday yes this is a very important point. YOU need to define the value of any given job or collaboration. If you allow someone else to define it for you you risk the very real danger of being exploited.
Insightful as always, thanks Christian. The architect/tradesman comparison was interesting. I worked as a tradesman for 20 years and worked with numerous architects, all of which were fish out of water on building sites and had zero hands on experience, some of which would even leave important details off plans for tradesmen to finish off. In my 20 years did I get any closer to becoming an architect? absolutely not. Could I do their job and they do mine? No chance. But in my years of following my passion for music through TH-cam and other avenues I’ve got as far as writing a couple of no budget films scores for a director and have gathered knowledge and experience from the nuts and bolts of patch programming through to writing score to picture with only some piano grades on paper as qualifications. So am I closer to ‘made’ than I was to architect, I like to think so :)
Just watched GoodFellas over the weekend! so the whole, it'll happen when you least expect it and to keep working at your craft is very prominant in the film as well as life! :) do what you enjoy and work hard at it, you will rewarded for your efforts! :D
Very interesting. Christian, how would you go about adding these ghostwritten pieces to a CV or do you just never mention that you were involved with the big epic blockbuster or the arty independent film? I inadvertently ended up ghost writing on a friends Uni project as they were strapped for time. Thinking most of my output might get chucked out in the mix, it was heavily used and centrepiece of the project. My concern was primarily for the reputation of my colleague and the university as that may have been considered wrong to get someone to write in that way for an education merit. What do you think?
How goes it Danny? I remember the work you did buddy and your dedication, when we played together on things. A great attitude and a great musician too mate. Let it be said you had a good do.
I think in some ways we all forget that it is up to us to decide what is Success -for us. Is it writing a conservator's piece of music with pen and paper, is it working on a piece of commercial music that makes you money, or are you looking for the epic movie music that everyone is going to know and is going to hum the melody. If the later is the case then I'm of the opinion and would argue that Christian has the blueprint as we've all seen in the video; And as one already pointed out there "can only be two the composer and the apprentice" - Love that quote. I personally Believe that one should be grateful for ghost writing jobs as I know that the odds are against people being involved in that one epic film and coming up with that one epic melody that everyone loves. It is my opinion we need to have a realistic approach to your music and let's not forget the business because it's not called music art it's called the music business. And how you run your business will dictate how far you go as well. Yet again it comes down to what will you consider to be successful. We can all sit and criticize everyone for their music skills, abilities, lack of knowledge etc. As well as the business sense but in the end that does nothing for the individual who is doing the criticizing to gain the feeling of being successful. That said, if you end up doing ghost writing for a narcissistic individual and it is making you ill or making you feel less than a human than I highly recommend that you walk away from that job, Even if it is the epic movie or the biggest player on the block. I do 50-50 spilt as a Paramedic in the US and the other half as a composer and I can tell you know one on their death bed will say, I'm so glad I worked countless hours nights in a row for that terrible person or better still! Nor do they ever say I made it! Do what make you content, earn you a fair wage and don't forget the business. My 2 cent, I want to take a moment to thank you all for all your insight and thoughtful comment. It was very illuminating to hear the different opinions and as always I think Christian for his thought provoking content.
Some valuable insights Christian. Though not a full time composer, the ghost writers and assistants I’ve hired have always been part of the journey for me. True they are almost always interns from the film industry for which I value their own experiences and training. But for me its about team work and developing their interests whilst getting a project completed. A sort of 2 way street.
This is in all areas of endeavor. I was in consulting for years. My job was to come in, and if things went right, make the people in charge look great, then take my check a leave through the back door without notice. Or if things went bad to take the blame make the people in charge look great, then take my check a leave through the front door as the scapegoat. At no time was going to get the glory, I was a ghost writer of sorts. After several years I moved on to being in charge of projects, but I had to show I could do what it took before that became my reality.
I work in theatre and it’s all the same stuff. You work hard. You be kind. You be honourable and deliver even when unthanked. You pay it forward and bank a return favour. The road is long. Patience, determination and generosity reap rewards. Gain respect and one day that opportunity will come your way. It’s really tough to do when pride and jealousy are competing for your attention but I’m sure so many will agree, from all career paths, that it comes good in the end.
Very useful video Christian, thanks! I've never had to use a ghost writer, however I'm progressively feeling the pressure to give it a go. What puts me off, is spending the time (that you're trying to save) looking for an appropriate writer and in some extreme cases auditioning people and asking for demo's, in order to fill what is a very important role. What are your thoughts on this? I'd imagine once you get to a certain point in your career you know a lot of people and have 'go-to' ghost writers, or alteast people you'd entrust with what, like you mention, can be a gold dust opportunity. Otherwise if you don't know who to go to, then you could spend the time you're trying to save finding a suitable writer thus making the whole time saving initiate obselete. Would be interested to hear yours, or anyones thoughts!
I find that when you work for somebody, especially in the beginning, you have to be self-effacing. After a good while, you must learn to master your craft and earn your role. Little by little you will become more of a peer to your boss/mentor, at least in work skills if not in the relationship. If you do your job well, he/she will stop worrying about you, grant you more freedom and manage you less and less, to the point where sometime tasks get shared evenly. Once you get to that point where you too are an "expert/resource", you are ready for the next level ... and getting to the next level will not be an insurmountable challenge or a suicide mission.
very inspiring lesson, I have been doing a lot of ghost writing for other composers, sometimes will worry about if this is the way to the end, even I am getting the big cut of the profit. Yet this somehow has turned into another form of business chain recently, many people that I ghostwrote for have turned into my broker/agent, because they have not done enough and cant catch on the pace of those rapid changing demand from clients. So I am getting different "agent friends" with multiple stable income channels, which isn't a complete bad thing so far and some of them even propose a plan of forming a solid studio like immediate music/2 steps from hell ect, and run the business together. (It is not easy to get a studio with reliable skills and good sense of taste at the same time here where I come from) Now I believe, the business is just going to be more and more brutal, the world changes fast, and a lot, only for those hold skills get to survive and run forever. This year I have just caught an opportunity which is passed by one of those people I helped before, and it was a direct business between the client and I. I think your explanation is very inspiring and I am looking forward to that day when I could have more and more clients who I could "directly" facing. Again awesome lesson, thank you sir!
Thank you for that eye opening video! The analogy you used is indeed precise! Now I understand why I could never make it to the music business... I completely understand why some "good fellas" liked my music, but wouldn't support me. I thought I was into *music business*, but it's not music business apparently! Its just another "organization"... Actually its worse.... Because when you work for the mafia, you know you work for the mafia, you're not being tricked into thinking you're in something else. I really can't believe what I'm hearing - especially the part about "honnor". I'm having trouble coming to terms with how deluded I've been, and with the fact that this mentality is considered a norm nowdays!
BTW If "great artists" don't do all the job themselves, consequently, the artists who do all the job, should be consider greater - and reckoned as such! In any case, the creative work of another person should be somewhere acredited. Period! And since we re in the movie quotes: "Good business is where you find them" (Clarence Bodicker - Robocop), so please lets cut the crap with the "opportunities" rhetoric.
Good discussion here. Personally, the 'boys club' mentality that I've experienced in most composing studio environments is something I detest so much. I'm no alpha, and I hate being 'blokey' for the sake of getting along with others. But that's just me - but it's meant a lot of work and soul-searching to figure out what kind of music career I'd be comfortable with.
Yup. Been there. I think there is an impatience with the younger artists today, that also seem to want the quick highway to the top of what they think is the important mountain of success. It's really not so important to get there as it is to learn as much as you can on the way and not feel resentful for that process. Resentment leads to backbiting, defensiveness, and other things that will eventually undo you ability to collaborate with others. That will hurt your path. I have seen composers who have an arc in their career, and then they are gone mainly because they just lost the ability to enjoy and explore whats really important. It's not dong a big Hollywood film, but to do something that is impacting and of value. Many years ago, once of my first films was for the Museum of Contemporary Art in Los Angeles about the Life of John Lautner, "The Spirit In Architecture". There were like several composers who contributed to the film. There was no money that I remember, but it was a valuable lesson for me to work with some very talented people and never felt slighted at all even though I probably was the only person who actually composed something to picture. Back in those days is wasn't easy either. No Protools etc. I think I got some studio time paid for at a 24 track studio. It was a proud moment for me and was honored to be able to do that show and be at the premiere. I just hope people understand the value that there is always going to be learning on every project beyond just writing the music. Being of service is the key!
I've done plenty of ghost writing in my time and gone through the spectrum of emotions you mentioned Christian, being particularly frustrated during my earlier less experienced years (more hormones floating around me in those days I guess). Even though I'm further along with my career now, I still occasionally do the odd bit here and there but I do it as a collaborative and enjoyable process. It can indeed be a 'gift' like you mentioned and should be regarded as such when you're 'on the job'. However, in my case I've stopped making the effort with a couple of composers I worked with in this way after being promised too many times that I would be compensated with an additional music credit / money yet not receiving anything. In one case I scored a whole feature pretty much and in another a TV film, yet was given no credit nor compensation. What made it more difficult is that these are composers who are also friends of mine here in London (and still are, they're great guys, I just think they struggled with a changing schedule). So in my case, it's been useful to understand the process of composing and the intricate nature of composer -> fill-the-blank-here relationships within the industry plus, of course, to appreciate the insane time pressures and resource-dry environment we are often under as composers. But it has put me off continuing down that path unless it's contractually clear what the terms are, even though I know that can be quite difficult to put in place with so many players involved. In most cases, personally I feel it would be more fruitful to put effort into establishing relationships with directors, producers, editors, orchestrators and everyone in-between who you will work with as a composer directly rather than trying to get a ghost writing gig to reach the same position. That way, you set yourself up with the support structures you need to get the jobs in the first place.
Here's my situation. I've been circling the indie film circuit composing and have just completed my first small British indie scifi feature film... I wanted more than anything to find an opportunity to Assist or Ghost write when I started out (I'd probably still consider it now!) but those opportunities are seemingly 1 in a million and are very hard to find which left me no option but to forge my own path. To me the problem is that it's quite well known that many of todays established composers came from assisting or ghost writing so for all the new, up and coming composers it's become the norm... school, music degree, assistant, famous composer. My worry is that it's not a realistic path to expect to happen for the majority of us and we shouldn't be afraid to graft on our own. Do excellent work at every opportunity you get, network, get recommended to someone else and so on and so forth. Both these paths are marathons and I'm still probably only a few miles into mine but I'm making progress. As it happens on the feature film I had a little bit of budget and the score called for big traditional film score and I'm not musically educated so I actually took on an assistant. A great guy studying at the Birmingham Conservatoire who filled all the skill gaps I have in terms of theory and orchestration to come in to work on what I've written to just help it more realistic and grounded in what an orchestra can actually do. Anyway! Love the videos Christian. Sorry I've essentially just written an essay.
I always wondered how Ghostwriting actually worked. The way you describe it is not unlike traditional animation. Disney's "Nine Old Men" didn't draw every frame. They drew a few key poses, then handed those off to their assistants to draw the inbetweens, sometimes with instructions or charts about how the timing should work. The assistants were brilliant artists in their own right, and often went on to become key animators themselves, but their job in that moment was to draw in the style of the key animator and make sure the finished shot felt like a cohesive whole.
very interesting, thanks for this Christian! I have a question regarding awards (maybe you could answer in an upcoming video) I recently worked on a short film which won an very big award and I would hope this could evolve into my name getting out there and hopefully get more work. Whats your take on awards taking your career further? Helpful for a composer or not? thanks!
Found that pretty interesting as I am someone who reaches out to producers who also do ghost writing. Just like he mentioned, sometimes it's like I have A + B but no connector, or who knows what else I might throw at them. What I've often found so far is that these writers don't seem to like it when I ask them for revisions or tweaks. They often want to believe that what they've done is supreme and it seems like that since I am coming to them they should know more and know what is best. I find it hard to find ghost writers who are humble yet also have competitive rates.
Sometimes you're not the word, you're the highlighter pen. Great quote from Reeves Gabrels on his guitar work with the Cure. Sums up ghost writing well for me.
Great video Christian. I have never used a ghostwriter and personally I think I’m too much of a control freak with my own work let someone else mess with it however I’m totally up for having my mind changed so never say never. Would I ghostwrite for someone else? Absolutely. Relationships are so important in any industry as are scruples and integrity so I agree with you completely. Keep your mouth shut, do amazing work and the wind will eventually blow in your direction.
I have nothing intelligent to add here (unfortunately), but I wanted to mention: as a “professional” musician with 42 years of experience and “professional” media composer with approximately 93 days of experience, your channel, and your weekly brain purge are the most valuable thing to me at the moment. That is, with regards to my new adventure anyway. I’m married with children so you fall somewhere after that... between Pop Tarts and a good bowel movement I would think. But, don’t be alarmed... I enjoy a warm Tart a great deal. Thank you for all you’re doing for this community. P.S. If you make it this far: I’m considering buying the “everything” bundle from Spitfire. If you pay that amount (which is a considerable sum) do you get any newer things as they’re added or does the $11,000 represent just what’s in the”everything” bundle at the point of purchase? Also, are you guys considering going to a subscription model? A lot of people dislike that idea but, as a Slate -Avid-Pro Tools subscriber, I would welcome the idea of spreading out the cost of everything and you guys would have a recurring revenue stream that’s easier to forecast. Any thoughts ¯\_(ツ)_/¯?
What I would give to be a ghost composer.. !!!!! No offence to the guy that commented about it, I get it, but you don't know how lucky you are actually having the opportunity to work as a composer in the movie business and having your music used in movies. As a sound effects editor, I've seen my work ripped off, and un-credited on movies and tv because of being sub-comissioned sound effects editing by the leading editor. But hearing your work on TV and in the theatre, what a feeling. I definitely wouldn't mind hearing my score, or even just a motif or melody or even just a "phrase" I composed for a scene or character as a ghost writer, on the TV on the big screen. Or even just an idea of a theme, that would be AWESOME!! Unfortunately thats part of the business.
Print what you just wrote out and frame it. Then, if you ever get to be a composer on a big project, take a look at it after you've been up with no sleep for several days, frantically racing against a deadline. ;)
Having spent 35 some odd years in one for or another of audio and music production, I have delved recently into the land of media composer for Indie film makers. Referring to your well defined chart on the subject, I do see myself having served in most all the rolls you illustrate so well. However, in my world, it's just been me answering to myself as composer and all other rolls accept ghost writer. So I'm not sure this video relates to me and the struggles I face as a one man band, so to speak. But, how it does relate to me has to do with relationships. I do collaborate with arrangers, orchestrators and composers on occasion. But I really never had the opportunity to share my knowledge with an "A" list composer as an underling wanting to develop my craft. However, I do also see clearly, your points. And for me it's about recognition and collaboration with team members to produce well thought out scores. And I suppose, it has to do with having served as an intern at Westlake audio many years ago and my mentor stopped me one day as he opened the back studio door for me so I could enter with a dozen coffees for crew and talent. And he said.... "Jim, this isn't your record. This isn't your band and you're not the producer or the publisher. You are an intern here and you must, as we all have in the past, leave your ego right here at the doorstep every day you enter this studio and beyond". And he was right. I have lived by that creed ever since. And I think in my world it's served me well. And today, after watching this video, it has been once again reaffirmed. Keep coming with insightful VLOG's Christian. They do touch us all in one way or another.
Depends on the workload. If you are like us and score over 30+ TV movies a year, you absolutely need help. But everyone gets properly credited and gets 100% full writers share and equal pay. Back in the day when the studios would give us publishing, we would give 100% full publishing as well. :) Miss those days! lol
There's a fascinating (and productive) discussion on the Facebook Group Trailer Music Composer's Support Group, about someone posting on social media that one of their tracks had been placed on a film trailer, and the production company responsible for the trailer essentially bullied them into taking their personal post down - some companies apparently have as part of their standard contract that people can't discuss their involvement on social media. Given that film trailers are essentially advertising, and that composers contributing to those trailers get no named recognition, this seems harsh. You can stand up against this, but then risk being branded as "difficult" and ostracized
In Summary, don't worry about the small stuff or what your benefit will be, it will always come back and ultimately you just take ownsership of what lands on your plate, own that shit to the best of your ability like this is the last time you will have a chance at it whether it will be gone the next day or last. What you did will stick to it because you touched it.
How would you explain stylistic career paths such as Johann, Olafur, Dustin O'halloran etc etc. Either become an assistant or focus on getting your specific genre based music heard for film consideration?
liquidcast my brutally candid response would be I think it is more difficult to become a successful artists than an applied media composer. The indie marketplace is even more saturated than the media one. You can work successfully as an anonymous and mediocre media composer. You can’t do the same when making records. So that’s my “go figure” answer. If you’re a staggering talent with a truly original voice go the Olafur route, but bear in mind he doesn’t do it to get TV work... the touring, the promotion, the pressures of radio interviews, public appearances, meet and greets etc etc
Really interesting, having never been an assistant aside from the occasional bit of mixing and prep I agree with what you've said. You have to work your way up. I have always thought that it is better be a jack of all, master of none type at the start. It allows you to develop and refine your interests and skills as you progress further within the field you work in. The first person I heard this advice from was Steven Wilson and then further down the line Sia. Steven Wilson is now a solo artist but throughout his career he's ghostwritten/mixed for hundreds of artists, and can fill the Royal Albert Hall within a few hours of tickets going on sale (Olafur is in this same bracket) Sia... She is a force in her own right. Ghost writing for some of the biggest names within the music industry (Zero 7, Guetta, Rihanna, Adele to name a few) and also the film industry (The Great Gatsby, Hunger Games, Star Trek etc...). 'The Spectrum of Composery-ness', like it.
I was recently brought onboard for 4 US TV shows for a guy who’s sample library I wrote a demo for. He was taking 50% of the writers share even though the music I contributed was mine from scratch etc. But there are two ways you can look at it... 1. This guy is taking 50% of my money. Or 2. I wouldn’t have this work without this guy, it’s 50% I wouldn’t have otherwise. I find it very important to be no.2. That work has lead to lots more work which I’m now getting 100% of the writers share for. Had I thought about it like the first example, I would have just been bitter all day long, not enjoyed a second of it and probably told him to do one. Ghost writing is a great opportunity and like you say Christian, you just need to sit tight and the benefits will come.
Sam Fuller is go with 2 too... you would probably find that if he/she didn’t take 50% of the publishing they’d be in breach of contract and you’d both be chucked off!
I was wondering if in future you could do a video which covers lufs and how to use the the loudness metre plugins properly. There is a lot of videos from other channels but me and a friend find them a bit confusing as it seems as though they are missing out half the information. We wondered if you could do a video on them as you are much better at explaining things then other people :)
Hey Tom! I'm not Christian, but it's not too complicated - you should be able to find all the info if you just keep looking around. If it helps, I'd just say find out what volume you're aiming for - there are different standards for different mediums (and it's not initially always intuitive - theatres have much quieter mixes than songs that go to iTunes for instance, but this is because the actual volume of the speakers gets cranked, and it allows them to have a really large dynamic range - which is also what creates room for those insanely loud SFX). A lot of broadcast/tv/theatrical sits in the around -23LUFS area. I believe Netflix asks for -27LUFS (super easy to find the requirements sheet if you google it). LUFS is similar to RMS but takes into account the entire program (film, episode, song, etc), and has a slightly different algorithm to account to how humans hear sound rather than just being a mathematical average. You also want to watch out for your True Peak (there's usually different requirements as well for different mediums, but definitely don't clip, and safe to stay below -1 if you can). And then I believe there's either momentary or short term you need to watch for as well (keep forgetting which) - which is basically LUFS but monitored over shorter segments of time rather than over the entire program (for example, you may have 2 minutes of really quiet audio, followed by 10 seconds of absurdly loud audio - your overall LUFS will average the whole 2 min 10 sec out, so it'll still be fairly quiet given that most of it would be quiet, but the momentary/short term will end up being way too high over those 10 seconds - which you need to avoid as well). So it's essentially a few tiers of volume information over different proportions of time that you want to watch for. There's also the general dynamic range for the material you're listening to (the smaller the number, the closer the loudest and quietest bits are in volume - i.e. smaller dynamic range - and vice versa). In terms of how it works, what I do is I turn the plugin on, then you play the entire material (song, commercial, etc) and monitor what happens - at the end I take a screen shot for reference (unless I'm still tweaking). What I'd recommend is to look up what the suggested LUFS readings are for different mediums - particularly those that affect you (TH-cam, Netflix, Theatre, Songs - spotify, iTunes, CDs) and also try to see if you can measure the LUFS from these different sources yourself and see what happens in your plugin (for instance throwing a bunch of your reference tracks in your DAW and running the whole song while monitoring the plugin on either your master or that track) - take screenshots so you have a reference. Then match it as best as you can. At the end of the day, it's not the end of the world if your LUFS is off - if you mixed something at -18LUFS and it's supposed to be -23LUFS, it'll just get brought down in volume. But the tighter you get to 0, the more limiting you have to use, and you loose your dynamic range - so if your work is going to get brought down anyways, then you might as well mix it with the dynamic range for the LUFS it's going to be at. Anyways! I'm not an expert, just did a ton of googling myself when I was learning, but I know that it's always great to have someone help you out when the information online is unclear or hard to find - so hope this helps and didn't make it more confusing for you!
@@kkrouglow Hi Kevin i say wow at your lengthy but useful response :D I am testing out a few commercial tracks now and it's very interesting to watch the numbers float about in the areas that are suggested. They may deviate slightly but not much. The loudness metre I have been using is called YouLean loudness metre. I have the free version but looks like if you go pro paid version you get access to more presets for what you should be aiming for.
@@tomparsons7995 glad it's useful! (: - all the numbers are just algorithms that average everything out according to certain parameters. The closest thing to LUFS is RMS (root mean square metering - rather than peak) - which already is a form of averaging rather than calculating the loudest peaks. Fluctuating numbers is normal, that's why in guidelines (such as for broadcast, for netflix, etc) they also set a true peak limit, and a momentary/short term LUFS limit as well (as this is more so like your RMS peaks rather than your actual waveform peaks - i.e. the overall loudness [usually a result of more compressed material - more compressed = can be louder overall without clipping] rather than the highest points of a waveform.). In practice, first you could approximate your level to be around the -23lufs (if you're mixing for broadcast for instance), then you want to see if you've got really quiet bits and really loud bits, and see if you've go so many that it's pushing the whole thing up too much in loudness (as it averages over the length of the entire track), or that you're too quiet (at which point you can just turn the whole thing up - as long as you don't go over the short term LUFS recommendation). Presets are great, but not super necessary - I haven't heard of the one you're using, but I got the Izotope one as part of their music production pack - and though the presets are helpful in actually showing things go in the red if they go over, so long as you know what numbers you're aiming for, it doesn't really matter. If you see that at the end of the track/episode/film it's gone beyond your target LUFS, then adjust and try again. Google what the target/recommended levels are for your desired medium. What I roughly remember when I was looking stuff up is that songs on iTunes/Spotify etc tend to be mastered at around the -8LUFS level (crazy loud/compressed - partly because of the loudness war, and maybe partly to make sure that when you listen in a car or on your ipod or in noisy environments things don't get lost in the dynamic range). TH-cam etc tends to sit around the -12 to -18 LUFS range if I'm not mistaken (they'll either turn things up or down to match it). Broadcast is around -23LUFS (to make sure that whenever you're watching TV you don't get a certain program or commercial be much quieter or louder than the others) - and again, they'll adjust it as far as I know, but better to craft whatever you're doing to those parameters. And then I looked up Netflix which says -27LUFS - perhaps Theatrical is the same? If you look up Hans Zimmer's "Time" from Inception, you'll notice right away that it's WAY quieter than say a pop/dance/future bass track that you can also look up (or any pop track for that matter really). However, as you keep listening it keeps getting louder - this makes a huge impact in theatres if you crank your speakers - so it was mixed to the film which I'm sure sat around the -23/-27lufs range, while the speakers themselves (or playback system) would've been turned up significantly (if you were to play something at -8lufs on that system you'd probably go deaf), so the cue didn't have to be very loud to sit well in the mix, and had a lot of room to keep growing. Anyways, another long message :p Cheers!
As a side note/suggestion: if you're mixing/mastering a song, and you know it could end up anywhere from iTunes, youtube, a commercial, to a film, I'd say get it as loud as the loudest medium, and normal to that genre (check out other similar tracks) - because you can always turn a track down, but you can't turn it up without clipping (unless you compress/limit, but I doubt anyone will care enough to do that, or care enough to avoid distortion when doing it - unless it's their job and they're mastering/mixing your track for instance). However, if you're doing a score for a film and it's going to be in theatres, you definitely want to take advantage of the dynamic range and not have everything completely squished and then turned down by 15db - if you're also releasing the soundtrack for sale, then maybe get it re-mastered separately for that medium.
Are there any non-industry-specific business books you'd recommend to composers? I want to support my practical knowledge of freelancing with a deeper plan and understanding of what I'm working towards.
This is a great debate to have. Having been on both sides of this ( still am sometimes ) I agree its good to know and follow the code, although it is always evolving slowly. I do feel like more exposure for ghost writers is becoming a bit more normal. I think there really is honourable behaviour a lot of the time, but it does strike me as kinda interesting that the analogy which comes to mind here is that of the a criminal organisation.. My wider question : I think ghost writing is also wrapped up in the ( Gormley like analogy ) myth of the sole genius auteur creator. This clearly happens because its a romantic ideal people like to buy into. But.. is it actually healthy for us, or indeed anyone to perpetuate?
Valuable information. Thoughts on that we are required to more and more of the tasks on the Spectrum of Composeryness simultaneously along with being a tech, producer, mix engineer, mastering engineer, agent, etc?
Hi Christian, these are really useful discussions. Can I ask about 1 point. Around 13:00 you talk about using the downtime, ‘even at 4am’ to work on and fine tune a cue, but I wanted to clarify something. My experience of scoring projects and the film biz generally is that the expectation of work loads are already completely abusive, with the idea that sleep or any other semblance of being a human are pretty much ignored by producers and other HOD, so your comment prompted me to ask your opinion about his aspect of the industry. I fully acknowledge you mention your own ‘questionable choices’ around work life balance, but I get the impression you may have some useful perspective on this. Cheers.
I think the ghost writing experience (and really, all the various assistant roles) are quite different these days. So much work is just assignments coming down the internet pipe (here are the files, here's what's required, need it by 8AM tomorrow my time - good luck!). I've produced music for fairly big projects without ever even talking to anyone on the phone. Just emails and stuff moving back and forth via ftp, electronically signed contracts, payment via PayPal (or some other esoteric electronic service). Maybe things are different in major centers like London, NY, LA, etc. But that scenario of slipping the client a CD of your material while the head composer is in the restroom is never even possible a lot of the time these days, because everyone is never even in the same place, anymore. The assistants working away (ghostwriting, or whatever) at the other end of an internet connection in some other part of the world are never even seen. A whole world of 1's and 0's moving about through copper and the aether.
I thought the points on how to be a good ghost writer were excellent. Unlike others below I have not been on either side of this process before, and I thought it was interesting how you do not seem to be a fan of the idea when concerning your own music. That said, are you _sure_ I can't give you a CD showreel for your consideration?
Marcus Warner I am a very very poor collaborator when it comes to my own music. I have an internal dialogue that I find very difficult to explain and / or I’m a control freak.
Is there work that you have denied solely as a result of that? And I suppose more broadly speaking looking at where you are now, is there something to be said for being a control freak?
The legal battle around who wrote the James Bond theme is written up nicely here: www.jollinger.com/barry/lawsuit.htm. It tells how John Barry was paid 250 quid (a few grand in today's money) to sort out the James Bond theme and, pertinent to Christian's Ghost Writing vlog, how he also got a promise of future work if Dr. No was successful - a potentially nebulous promise as additional thanks for doing some orchestration in the background. Dr. No was a smash, the promise was kept and Barry ended up being the composer on eleven Bond films, which led to other film work that garnered him five Academy Awards. His launch into the composer stratosphere was kicked off by doing a "we need your help" orchestration job. You could argue that John Barry's talent would have got him to the top anyway, even without that Bond opportunity. But as far as pay your dues/door opener stories go, it is right up there.
I think you're right, but I am worried about engendering a 'keeping schtum' culture. Whilst it might be right to support our fellow creators on our way up, we rarely call out bad actors in the industry for fear of losing work. Too much deference can be as bad (or worse) than too little. Right now, in the UK, deals are being made asking composers to forgo *any* writing publishing through 'buy-outs'. We know that British publishers are playing a role in getting these deals signed and yet creator voices are markedly quiet. I know it's not your point, but I worry that if we tell young composers that the secret is to keep our heads down, we become an industry of push-overs.
Ghostwriting = Initiation Rite? A destructive tradition that can’t be broken, because those that once were exposed to it, justified the experience with the notion that at some point they would be able to do the same thing to others. A good ghostwriter understands that the task is to write in such a way that it sound like it comes from the person they ghostwrite for. Composers/producers seem to get asked quite a lot to write in the style of others, as the job, without it being labeled ghostwriting, and on all those occasions, the composer/producer can put their own name on the work. So the situation isn’t unique to the ghostwriting situation, it is just a sort of creative limitation that some people are great at handling. If a composer hires a ghostwriter, well then that composer sort of becomes Musical creative director, rather than composer, for the parts that the ghostwriter does, and the ghostwriter is the composer for those bits. Christian Henson’s idea of the Head of department role of the composer, in this case, is to convince the employers that the work will be much better as a collaboration, giving actual composer credits to the ghostwriter. As long as the composer has actually composed bits of music, it would not be the poster name trick, leaving the name on there as a composer. Looking at the credits on many pop albums, there is actually credits given to many of the producers involved, even though the album goes under the name of the artist. There are however unfortunately ghostwriters used in that business as well. But it is at least more accepted that people involved should be able to get credit, at least on a track to track basis. I agree that the person that was exploited should not go around telling people, because that will not benefit them in the end. It is unfair, but it is the way it is. It is up to the actual decent humans that work as composers to admit collaboration, and give credit where credit is due, as composer credit, and not just recommending those people when asked. People that do good creative work should get the credit they deserve. That arranger/editor that makes it all fit to the picture, if they get the recognition they deserve, it will be easier for other “Head of department composers” to know who to involve, or for people getting in to the business knowing who can give the best tips. That sound designer/sound programmer that makes great sounds, deserves credits. (That could also include that studio technician/engineer that knows tricks on how to mic things to sound in a special way). That highly skilled arranger that takes the files from the computer and arranges them so they can actually be played by musicians, or arrange the parts that can be played and gives feedback to the composer of what parts can’t be played by actual physical instruments, they should get the recognition they deserve. Things like that may only be of value to fans, nerds and people getting in to the game, but no one deserves to be uncredited. Favors should not include uncredited creative work. Creative work should be credited, but could be done for free as a favor, therein lies the favor part, not in not getting the deserved recognition.
I love it when you get out the diagrams, Christian - they are actually very good visual aids. If only I could read the writing along that bottom line! Love the gangster analogy - are you quite sure about that? Keep you mouth shut, and you will be made. Or you will end up in the trunk of the car? Closet Arsenal fan?
I think the industry has only been held by the players (musicians). The record labels are almost certainly being deleted and will be deleted in the next 5 years. They're not needed and artists will prove that very soon.
Just as thought - I'm also a scientist (until my music income is enough), and I'm used to "tooting someone elses horn". Like, it was my idea, but in the end a team effort, and when somebody asks, yes, it was the idea of the big name there. And it happened that somebody came to me and asked me directly to work on a project. As it seems, the "code is known" - someone of that team around "big guy" had the great ideas - let's find out who. Since you are Ghostwriting, you won't get royalties, right? What about the neighboring rights? Meaning putting yourself in as "performer" so to speak - so you get a cut from the neighboring rights at least (same as musicians get on e.g concert recordings or producers) - is that a "betrayal" of the code or is this allowed? What do composers you know think of this way of getting "your fair share"? (Talking full ghostwriting, not arranging)
I have to disagree with you Christian. The reason being is that no matter how small part you take in a production or ghost writing in this case, should be recognised and why not. I am not saying to give an Oscar award etc...but acknowledgment or recognition. This will mean a lot to anyone giving them the courage and motivation to explore. Yes, I understand that you need to keep your mouth shut and get on with it (I have been in that situation). A Small gratitude will go a long way and gain respect of their mentors. As to your honest TH-cam vids I am really grateful for I am taking every bit of your advice in. It’s a shame we have to rely on TH-cam and podcasts to look for information not many around where I live in the South East. I would like to move into your field and explore with Indian music. Thanks for sharing your knowledge.
I’m curious, how many people are we talking about here... ghostwriting for too-busy big budget film/tv composers? I’d be happy to ghost write. I’d be happy to be so busy that I need a ghostwriter.
brian steckler As a matter of planned course it isn’t that common, but as a necessity through desperation it is fairly common modern stresses of production drift coupled with the need to take quite a lot on in order to make a decent living.
I get it, this is how it works but fundamentally, if you work on something, you should get a credit. All these secret handshakes and winking pats on the back...its perpetuating a bad culture.
Far from Bs this is wisdom ,an algorithm ...one of them ...for success in music , based on experience ..how do I know...it’s just the same mechanics in relation to a life in science , for me a resonant parallel ., a formula I suspect for any endeavour in life. .. dealing with arrogance’s of human nature.....persevering,. Creating and delivering .Just imagine if we all had the purpose to make each and everyone succeed in our life groups. Most Homo sapiens don’t have such purposes or intentions ..we don’t characteristically play the type of games where everyone wins ..how strange😯
I despise any form of ghost writing that isn't openly communicated (contrary to, for example, a lot of autobiographies where it's made clear the "star" had help from a ghostwriter). Doesn't matter if it's music or books, classical or EDM music. It contributes to accepting lies and shenanigans as the defacto standard, helping dumbing down society even more. No, thank you.
P.S. There's an ocean of difference in hiring a co-writer or co-composer (even if it's your apprentice) or having someone ghostwrite for you and NOT crediting them. I don't know of a better scenario where "Give credit where it's due" is more appropriate.
Christian you’re promoting an oligarchical system in which a status quo preserve an enormous amount of wealth and power by exploiting good willed young composers. Older composers reap years of royalties as well as the benefits of having major writing credits in return for relatively tiny amounts of compensation for the young composers. Maybe you haven’t seen the royalty sheets on really large films but they are enormous. The spitfire cribs tours alone make that pretty obvious. This ‘made man’ system you’re proposing is typical of a generation believing the world should be governed by men down the pub being ‘loyal’ to each other and having a bloody good time through thick and thin. Who cares if Mr Charlie is actually taking home a few million more than young Mark. Actually artistic industries are the most vulnerable to people being exploited for their talents because they are too scared to ask for what is rightfully theirs. It is the exact area that does not need ‘made man’ scenarios, but more formal ways of building CVS, fair crediting for work and career progression. The system you propose leaves a young composer completely at the mercy of any tyrannical overlord they happen to be ‘lucky’ enough to fall under. Their acceleration is completely at the will of a probably incredibly insecure and stressed person who doesn't want to lose them, especially if they are talented. You’re currently in a very influential position for young people in this field and it’s slightly terrifying that you’re coming out with this kind of dogma.
He waved at me at 18 Goodfellos the Bunnie Club Scotland Beat England Wemboly London they left the window open am in head waving at the Bunny Girls he did PS It might have Bavid Bowie sitting with him mmmmmm
Hey Christian, honestly, what a fucking awful culture that seem to be. Yes there's one thing of being a trustworthy companion to the main composer, but hiring someone on the basis that you better shut the fuck up who actually made this score, that's just so bizarre and feeding a sick culture. An honest business would be a composer saying yes off course I work with assistants and ghost writer and we're an amazing team together... If this culture is fed by the business the culture will stay the same. Maybe this is just what needed: see your business as a team business with a creative director working with several supporting experts. I'm sure there's many levels to this, as you mention getting help in hour own composing, but if culture is that a ghost writer should shut the fuck up, then seriously some composers need to rethink the value of other people and this culture they nurture.
corner liston I hear you but I feel you’re confusing being a ghost writer with being a ghost H.O.D. The examples I mention about keeping shtum are in respect to not stepping over the line into deputising head of department status which just confuses the fuck out of everyone and makes the HOD who is responsible for the whole budget and the legalities of the contract signed feel totally undermined.
@@TheCrowHillCo Hi Christian, yes maybe I am confused. The HOD is always the HOD. That's my point too. Any assistant not understanding that would not keep their job, in any creative business. Some of the examples you give in the video made me react because they tell a bigger story than stepping over the line. But maybe that's exactly what I misunderstood. Well, at least I learned I have feelings. Thought my brain was all eaten by cynicism. No, the thing is this: Why on earth do you need something called ”ghost writer”? Just call them assisting composer and be transparent you need them and credit them because THAT'S a healthy creative culture and if your'e afraid the clients thinks less of your composing than the MADE composer needs to work on his ego because everyone knows that large projects needs creative assistance. The clients hired YOU, the MADE composer, because you have the creative direction they want.
corner liston I think I’ll probably do a follow up vid to this. For me ghost writing is composing part of a project without being seen to do so. If you hire Jerry Goldsmith to write a score he brings a cache to your project so it is in your interest if things go tits up and he can no longer do it all for Jerry to use ghost writers so that you have his name on your film. It is therefore crucial that the people he employs as ghostwriters don’t challenge the claim that JG is the HOD (you’d be surprised at how many times I’ve seen people do this) not indeed disrupt the process by trying to collaborate with the Director without the HOD being a part of it?
@@TheCrowHillCo HOD or musical director is not the same as composer. If they want a name on the poster, they can do the Co-composer, or Executive Composer, or Musical director, or any other way of keeping that persons name on the poster despite having to give credits to other composers as well. Hiring a composer that can imitate the style of another composer, is fine, as long as they are giving credit for their work. So if you by ghost writer mean imitator, that is fine. But if you by ghost writer mean imitator that has no right to credit (the typical meaning), that is never fine. It isn't honest to anyone, and it isn't fair to the composer not getting credit for their work. As a musical director or HOD, one can still handle all the contacts with directors and producers, and be the one signing off on tracks, making sure it all fits. But that in no way means one can claim to be the composer of material that others have composed. And the idea that they can claim that, create these situation, where a ghost writer might try to get pass them, to get in touch with the director or producer, to take over the role as composer if they are the ones doing that work. If it is a team effort, well then credit the team.
I'm sorry, but this is a load of romanticized bs. The industry is defined by dog eats dog mentality, just like in the mafia. You are right when you say that we must keep our mouths shut, but that's only because we will never work again with the "big boys" if we speak up about the unjustly practices of ghost writing, obligatory royalties seizing, etc.
Remember Klaus Badelt, you know - the original composer of the Pirates of the Caribbean theme tune that everybody thinks Hans Zimmer composed? Yea, that guy. He used to ghost write for papa Zimmer back in the day, then he got his own gig, then he just faded out more and more into obscurity. This is what happens when you upset godfather Z. The story is even more weird. Initially, Alan Silvestri did an almost full score that was rejected.
Remember Gabriel Yared? Yea, didn't think so. Outstanding composer; he was the original composer for Troy, researched and worked his soul for that crap movie, he was ousted by the studio in the final four weeks and James Horner was brought as a composer because they probably needed a name with a bigger resonance -pun intended- and they also probably wanted Josh Groban for the final pop song. He spoke out, faded away.
Remeber Benjamin Wallfisch? He did the score for the new Blade Runner sequel, then papa Zimmer comes at the last minute and slaps his name on the poor guy's work. They said that Ben's music needed a bit more refinement, but if you don't have chewing gum glued in your hair, you know that's total bs and the studio, again, needed a name with a bigger resonance.
Remeber Junkie XL? Of course you do. Best palls with the almighty Hans. Now he flies high getting gigs after gigs, even though that man's musical abilities are of a fifth grader. His music boils down to 50% sfx, 50% synth pattern matching and 100% unnecessarily compressed armageddon drums, proof that you can be musically illiterate and still reach the mansard.
Conclusion
It's a big, old and established mafia. Hard work by it's own will not get you very far. You gotta do the dirty dishes forever and be willing to swallow some really bitter pills if you want to climb. Less than 0.1% will make it to the top.
Nae Dolor fascinating post here. I think with the whole of show business there’s four aspects: hard work, ability, your ability to deal with people and luck. Who knew Shrek would be such a hit for example? You take it on and you never know. But Harry worked hard and long hours to make sure he was in many places and would one day be in the right one and at the right time. He’s a very talented film composer and a lovely man who works well with I imagine some fairly colourful characters... oh and he came from HZ’s camp and is still working on mega stuff just like Lorne, John Powell and a whole coterie of composers. I don’t know the Klaus thing but knowing Hans would tend to think there is probably another side to that story you’re not partial to. The Yared thing... well again I hear a different story with bad cards at a preview, it’s shitty but hey you’re not a pro until you’ve been fired. The way that Gabriel responded to his firing though rightly or wrongly may have limited his chances with studios going forward. And as for Junkie... well the thing is... and this vlog is testament to this... writing great film scores isn’t always about writing the most meticulous conservatoire educated music. His scores are loved and are part of the success of the films he’s working on which is why I suspect he’s asked to do more. Whikst you may feel his beats and the compressed drums are nothing special he had a hugely rich heritage in edm which gives him an edge that I would challenge any of us to simply copy. It’s like saying Ry Cooders score for Paris Texas is invalid cos all it is is a guitar with a bottle neck and anyone could do that... so thanks again for your feedback. Whilst we differ on most of your points I agree that it’s fucking tough and knowing what I know with numbers of spitfire users I’d say your estimate of 0.1% is somewhat generous. All the best CH
@@TheCrowHillCo Wow, Cristian Henson actually wrote me back. I gotta play the lottery or something :). Ok, so yesterday when I wrote this post I was really tired and upset and my "tone" was quite harsh and I came of a bit too abrasive and I'm sorry for that.
Firstly, I enjoy your content and you come across as one of the "good guys".
Secondly, I try as much as humanly possible to observe and not to judge, but I'm not always successful, as is nobody living. When I do, I like to think that I'm not a total hypocrite and that I consciously acknowledge this fact and try to internalize a logic and come up with rational reasons of why I do it. I'm really trying not to make a claim that this way is right and this way is wrong, or this is absolutely good or absolutely bad. Reality is always somewhere in the middle.
So, when I pointed out my examples, I wasn't assigning blame, even though now re-reading it kinda sounds like that, but I was rather trying to show what I perceive to be relevant events that show the dark side to this industry, an antithesis to your eloquent and idealized speech about the matter at hand.
Thirdly, regarding Mr. Tom H, he's just a symptom of modern trends and sensibilities, a pertinent example. My problem is not with Tom the man, my problem is with the fact that while he's hitting numbers with six zeros, I'm not even making spare change compared to that. I've spent twenty years of my life in music schools and I get debt and a couple of Kontakt libraries to show for it and maybe some above modest gear. You mentioned his vlogs; please don't you tell me that you do not cringe every time he's playing a keyboard, or when he's trying to talk harmony. This level of dilettantism at the top level blows my mind. In this regard, I feel it's like Uwe Boll trying to give directing lessons. Give John Williams pen and paper and he'll write you symphonies, give Tom pen and paper and he'll doddle emojis. Chris, you can't ignore this fact, especially when you are a man of music and you know what's going on. However, I will acknowledge your point of view and recognize the fact that his body of work is appealing to the masses and has a certain personal aesthetic which is unique, but again that's not saying too much, it's just glorified appearance over essence, a recurring theme in this day and age. It all boils down on how value is assigned and by who, the hardest conversation I will ever have with anybody. Overall, the idea I feel is that we can't ignore each other's arguments, but there's a humongous wage gap inbetween brought on mostly by conjecture, where vocation or knowledge have close to zero weight. There's way more to say here, but I'll just stop for now.
Cheerio
Nae Dolor I think you may be looking for a lot of art when the emphasis in many cases is on commerce. If it is effective given the movie and the audience likes it, then its level of formal sophistication is really besides the point. That’s not to say that art and commerce can’t co-exist, or that commerce must exclude art. It just often isn’t the point at that level it seems to me. Nice when it happens, but....
I love it when someone comes along and slaps everyone with a reality check.....boom.
Your attack on Junkie XL seems to stem more from your own career's path than what he has or hasn't done in his. Time to swallow the reality pill. Composing is a tough business, but with that kind of attitude you'll never go anywhere, no matter how good your musical abilities are.
honor begets honor. a crucial principle. love to see this reminder in an industry that can be so gruesome.
You know you're a Made Man when you're using a nice tweed amp as a stool. Great video as always, Christian!
Great video Christian. I did a bit of ghostwriting for a well known composer back in the mid 90s, and whilst it was frustrating it taught me a lot about hierarchy and ego. It's a rite of passage, like any apprenticeship.
Not directly relevant to this video Christian, but just wanted to thank you with all my heart - I won the Everything bundle in the Tombola! Am still in shock. I wasn’t watching in my bedroom or in my pants (although the pants I was wearing at the time may have changed colour a bit during the draw). I do have one complaint - no sign of the thigh slapping beatbox!! 😉
Have now ordered The Spitfire Annual to complete the collection fully.
Spitfire, to me, is like the Factory Records of the sample library world (except, crucially, with good business practices as well as the wonderful aesthetics). I can pay no higher complement.
My only problem now will be how to use it all without getting lost in it, but I’ll give it a damn good go!
Woah! Congratulations!
Congrats... that was a gooooood prize!
Holy shit
I'm always impressed at how translatable your observations are to other industries, beyond composing. For me, not a composer, but a scientist, the idea of ghost-writing for the professor (head of department) is one that has remarkable similarities to the scenario you describe, and I agree with almost (1 caveat) everything you said, from both sides of the relationship. I've been in both positions, and have indeed reciprocated others with future work in the way you describe, and have myself been the subsequent beneficiary of opportunities, based on my efforts when as a junior. So, I'm in complete agreement; that is, up until the point of "if you have 8 hours until 4am, use every one of them". I totally disagree there. I, like you, have lived the life of sleep deprivation for the sake of work, and even as a scientist working in a relevant field, have only recently become aware of the dramatic health risks that lack of sleep represents. As heads of departments, it is up to us to ensure that our junior colleagues do not have the expectation of this, and that we are actively involved in breaking this cycle. I'm sure we all feel, 'yes, but my job is different, you don't understand the deadlines, the short turnaround' (certainly applies in my industry) - but whilst those in positions of power continue to accept that misguided and self-perpetuating logic, the unfortunate status quo will thrive. We all have to be the change, and take seriously the health and well being of those in our charge. By the way, just bought eDNA Earth, and it's f***ing amazing!! Thank you!
I've done the up for days thing way too many time, to the point of slipping into a dream state while standing on my feet with my eyes open (no drugs other than coffee involved). I once remember being at the end of copying out a big band chart I had written (before computers), staring at the bari sax part in a lot of flats in bass clef on my C score, attempting to transpose it to Eb in treble clef for the player and something that would have been a piece of cake when I was well rested made absolutely no sense at all. The idea of taking a stand on things and not doing it again is attractive, but the biz doesn't understand that. If you can't do it, or if you're unwilling to do it, the clients will find someone else who will. End of story. If you're big enough and well paid enough to be able to hire lots of assistants (who WILL stay up all night), that's one way out of it. But music budgets are really being sliced to the bone, and that tends to mean fewer people working harder.
It really is something for people wanting to get into the biz to consider. If you can't handle the crazy work schedule, and if it would destroy your family and relationships, maybe this isn't the career for you. There are some people who can tolerate it when they're young and breaking in, but generally, it gets harder to do as you age. I definitely believe some people have constitutions that make it more possible to get by on less sleep without going nuts.
I thought the job of Professors was to give therapy to the ones aiming for a PhD or Postdoc research! ;) Not sure if you are in academia but if you are. Thank you for contributing to research :) My MSC drove me into depression! literally. Very tough job.
BAYUM:
"Know thy place, and your place will one day be elevated for you, from the people that you have helped out."
-Christian Henson
Creating music is how I feed my family. I believe there's a bit of "Ghost Writer" in all of us. Face it no one can really do it all alone without a little help from someone or somewhere. I try to give my best effort in to each project I work on. I'm always open for suggestions and like working with people who are open to fresh or out of the box ideas. Like to see your unedited video on this. Great post!
@Christian Henson Music
I've been binging your channel for the past couple of weeks and I think you are a truly great guy-talented, charismatic and funny af. Although i learned a lot from all of your videos-this one is definitely the most valuable one as it has changed my life/ put it back on track.
I just saved up some money and wanted to throw it all into gear & libraries and give composing my best shot. I was literally getting ready to go and buy SL88grad before watching this video! After watching this I am happy to remain an ordinary guitarist and steer clear from the world you described. I could never take credit for someone elses work, or respect someone who does.
Thanks a bunch for helping me realize the true colors of the world i quite possibly idolized a bit too much. Keep making the vids as they are among the best content on youtube. Even my wife got hooked after seeing the funk episode.
I wish you and yours all the best and thanks again!
As a student studying Composition currently, this video is truly invaluable. More than likely I will find myself in a similar situation as this and I'd always worried about how to handle things. Honestly, I expected to either say nothing and miss good opportunities or push my agenda too hard and get fired, but now I think I know where I stand. Christian, I'd benefit massively from other videos like this; your experiences with assistants, is it really just running around and getting coffee, are there other, more efficient ways of breaking into this world. Thanks again for all your videos, they really are the dog's bollocks.
I totally concur, Christian. The whole message here is to shine as one who can be relied upon amidst all the muck of the industry where so few can be trusted. There's plenty of talent out there, but so much of it is pumped up and lacks integrity. Your really promoting a tenet of basic marketing..."finding a need in you community and fulfilling it". Fulfilling an essential need that is hard to find is the key to the road to success in any field in the long haul...and in the end, it is the long haul that really matters for steady compensation.
A good friend of mine is a key Hollywood illustrator that has done poster art for some of the biggest major films over the last forty years and typically doesn't receive less than six figures for his work. He has tried a couple of times to retire, but the industry loves and respects him for his humbleness and reliability, and is always pressuring him for more great work that keeps him busy to this very day. It's all about posturing oneself as a trustworthy and dependable professional in a world where there is so much backstabbing, greed and ego.
I have mixed feelings about this. On one hand I agree with your premise. On the other hand, my own personal experience tells me that you have to take it on a case by case basis as some 'HOD's are honorable and others, not so much. Also a person need to take stock of what the ghosting is actually doing for their careers because there are some 'HOD's who actively do not want your career to grow. I have written close to 50 theme packages (my own melodies, harmonies, orchestrations, performances etc) over the last decade for national sports networks here in the USA and while I received a portion of BMI for these tracks, most of the credit in the industry went to the producer who I worked for while I remained mostly anonymous. So the upshot is that at some point a composer needs to stop ghosting and go out on their own.
Problem is, "going out on your own" involves jumping on a lot of airplanes, time on the phone, time spent promoting, time developing a flashy web presence, hiring and conferring with consultants, hiring salespeople, playing golf with influential folks, setting up meetings and showings, and wining/ dining/entertaining clients. In short, an awful lot of things that have nothing to do with being a composer or actually making music, and a lot of additional business worries outside of music.
I'd say that the largest proportion of my current income / employment arises from the ghost-writing role that I was happy to adopt earlier in my career. Ghost-writing for two established composers when I was still in my teens was a life changer. I felt very privileged to be able to hear the music I'd worked on being played and recorded by some of the best ensembles in the country. Things shift when you get this chance; confidence improves, outlook changes, more opportunities seem possible....I was also developing an awareness of the music business, etiquette included. Getting close to the heart of things in the production process was so invaluable.
An effective ghost writer would ideally share a common understanding of a composer's vision and then have the technical means of achieving this. Thereafter, as you suggest, a feeling of gratitude should be prominent.
Thanks Christian, as always, for your commitment and energy.
Very interesting topic Christian! I spent 20 years working as a Cinematographer/DP (a parallel dept head) and the protocols are much the exact same. I only work with people who I know will bring their utmost dedication and creativity in the Camera and Lighting teams, and ALWAYS work their ideas through me, rather than pipe up with suggestions on the day. Its important for all to understand that innumerable hours of conversation and debate have gone on before the day of shooting between the Producer, the Director, and myself (DP). That context informs every single of the thousands of decisions that must be made while on-set. That said, I openly encourage my gaffer to suggest lighting setups and my 1AC to let me know any brilliant camera moves that inspiration has brought. I'll consider them and decide if they fit into the larger context that I have agreed to work within for the Director's vision we are all there to create and enhance. None of those suggestions, however, would warrant individual recognition and compensation beyond what has been agreed to for that particular project.
I think this is very similar to the hierarchy and protocols expected of everyone working in the music dept on a picture. Some comments in this thread exhibit bitterness at the potential for abuse, but in my experience it happens, but everyone learns and moves on positively or negatively from such results. Getting fired or having your work used to elevate someone else hurts, but the way we respond to that determines to a large extent, our potential to become one of the lucky .01%ers.
Working in the entertainment business is not a meritocracy where the best talent always rises. Talent is a given, but to have any hope of reaching the top a person must also have strong and inspiring leadership skills that keep their teams working at the highest levels in hard times, is an excellent communicator, can sell themselves and their ideas to those above and below them, are great working with producers and directors and can do a good lunch chat, are fun and illuminating to be around, and always hold the director's vision as the top priority.
I've never liked ghost writing and i would like to quote Mark Northam from "Film Music Magazine" which pretty much sums it of what i think about this subject. "We can contrast this to the far more ethical practice of hiring additional composers for a project, where the additional composers are hired, paid, and are listed on cue sheets as the authors for the music they wrote. If they co-wrote with the hiring composer, then both are listed according to the amount of original creative material from each composer contained in a cue. They often appear as “Additional Music By” or “Orchestrators” in the screen credits, but most importantly they are able to claim official authorship or co-authorship of the music they write. I have absolutely no problem with the practice of hiring additional composers, which I consider to be the fair and correct way to handle things when a composer is forced by time constraints or other reasons to hire additional composers for a project."
Great advice. Well, the first thing is always start. If the "made" composer is good and nice, you may learn a lot of things and enjoy yourself. Of couse, if it's the other way around it could be hard. So, "made" composers of the world, make your ghostwriters proud! Thank you for your video!
Rule of Two
“Always two, there are. No more, no less. A master and an apprentice.”
I really like the tradition of apprenticeships and the person you are bringing up first assisting, then helping, then co-creating and then doing their own thing. I am a computer game music enthusiast (Blake Robinson’s ‘Synthetic Orchestra’ led me to this channel) and I’m seeing it more and more in that realm. Case in point: Hans Zimmer and Loren Balfe for the Battlefield V Multiplayer Trailer (Flipping epic). I’m pretty sure that was all Balfe.
BFV Trailer is written Australian composer Blakus, he does great tutorials you should check out his channel!
Sam Williams was referring to the multiplayer trailer of Battlefield V which was credited to Hans Zimmer and Loren Balfe, at least the link I saw.
Blakus is also Blake Robinson....or another Blake Robinson??
Confused. Are they the same person or two different people?
@@Obosii Maybe there were two trailers then, but if you check his instagram (Blakus) he just posted a video about the multiplayer trailer saying he was happy his music was used in it! They're both called Blake Robinson which is really confusing, but two different people yeah!
He was talking about the ‘launch trailer’ from 9 Nov. There have been several trailers over the last few months. If you type in ‘Battlefield v Multiplayer Trailer’ on TH-cam you’ll find the one I’m referring to. If only that was the first trailer they released maybe they would have avoided the mountain of negativity and game sales wouldn’t be doing so poorly.
@@Obosii Ahhh, apologies - I remember the one! Well at least you've heard of Blakus now!
I've been a writer behind the scenes in the pop world, and it definitely opened up more connections and opportunities, all certainly based in the courtesy and respect you mentioned. Great vlog as always, Christian!
Interesting post Christian. I'm a music producer, and see a lot of parallels with media composing. I've heard of peers in similar situations "ghost producing" people, and in some instances there have been individuals that would like you do something with "exposure" being the carrot that is dangled in front of them. This is usually "exposure" with very little if anything in the way of composition. I'm new and offer my services to bands and musicians that have little in the way of budget, and I consciously choose to do this pro bono in some of those instances. What of those that might offer this as the carrot only? I suspect that many a composer has had to deal with this scenario, and figured it would a worthwhile question to explore even for newly minted composers.
Joe Maday yes this is a very important point. YOU need to define the value of any given job or collaboration. If you allow someone else to define it for you you risk the very real danger of being exploited.
Insightful as always, thanks Christian. The architect/tradesman comparison was interesting. I worked as a tradesman for 20 years and worked with numerous architects, all of which were fish out of water on building sites and had zero hands on experience, some of which would even leave important details off plans for tradesmen to finish off. In my 20 years did I get any closer to becoming an architect? absolutely not. Could I do their job and they do mine? No chance. But in my years of following my passion for music through TH-cam and other avenues I’ve got as far as writing a couple of no budget films scores for a director and have gathered knowledge and experience from the nuts and bolts of patch programming through to writing score to picture with only some piano grades on paper as qualifications. So am I closer to ‘made’ than I was to architect, I like to think so :)
Just watched GoodFellas over the weekend! so the whole, it'll happen when you least expect it and to keep working at your craft is very prominant in the film as well as life! :) do what you enjoy and work hard at it, you will rewarded for your efforts! :D
Very interesting. Christian, how would you go about adding these ghostwritten pieces to a CV or do you just never mention that you were involved with the big epic blockbuster or the arty independent film? I inadvertently ended up ghost writing on a friends Uni project as they were strapped for time. Thinking most of my output might get chucked out in the mix, it was heavily used and centrepiece of the project. My concern was primarily for the reputation of my colleague and the university as that may have been considered wrong to get someone to write in that way for an education merit. What do you think?
How goes it Danny? I remember the work you did buddy and your dedication, when we played together on things. A great attitude and a great musician too mate. Let it be said you had a good do.
I think in some ways we all forget that it is up to us to decide what is Success -for us. Is it writing a conservator's piece of music with pen and paper, is it working on a piece of commercial music that makes you money, or are you looking for the epic movie music that everyone is going to know and is going to hum the melody. If the later is the case then I'm of the opinion and would argue that Christian has the blueprint as we've all seen in the video; And as one already pointed out there "can only be two the composer and the apprentice" - Love that quote.
I personally Believe that one should be grateful for ghost writing jobs as I know that the odds are against people being involved in that one epic film and coming up with that one epic melody that everyone loves. It is my opinion we need to have a realistic approach to your music and let's not forget the business because it's not called music art it's called the music business. And how you run your business will dictate how far you go as well.
Yet again it comes down to what will you consider to be successful.
We can all sit and criticize everyone for their music skills, abilities, lack of knowledge etc. As well as the business sense but in the end that does nothing for the individual who is doing the criticizing to gain the feeling of being successful.
That said, if you end up doing ghost writing for a narcissistic individual and it is making you ill or making you feel less than a human than I highly recommend that you walk away from that job, Even if it is the epic movie or the biggest player on the block.
I do 50-50 spilt as a Paramedic in the US and the other half as a composer and I can tell you know one on their death bed will say, I'm so glad I worked countless hours nights in a row for that terrible person or better still! Nor do they ever say I made it!
Do what make you content, earn you a fair wage and don't forget the business.
My 2 cent,
I want to take a moment to thank you all for all your insight and thoughtful comment. It was very illuminating to hear the different opinions and as always I think Christian for his thought provoking content.
I didn't realize that ghost writing was as large of a part than it is. Thanks for the info.
Some valuable insights Christian. Though not a full time composer, the ghost writers and assistants I’ve hired have always been part of the journey for me. True they are almost always interns from the film industry for which I value their own experiences and training. But for me its about team work and developing their interests whilst getting a project completed. A sort of 2 way street.
This is in all areas of endeavor. I was in consulting for years. My job was to come in, and if things went right, make the people in charge look great, then take my check a leave through the back door without notice. Or if things went bad to take the blame make the people in charge look great, then take my check a leave through the front door as the scapegoat. At no time was going to get the glory, I was a ghost writer of sorts. After several years I moved on to being in charge of projects, but I had to show I could do what it took before that became my reality.
I work in theatre and it’s all the same stuff. You work hard. You be kind. You be honourable and deliver even when unthanked. You pay it forward and bank a return favour. The road is long. Patience, determination and generosity reap rewards. Gain respect and one day that opportunity will come your way. It’s really tough to do when pride and jealousy are competing for your attention but I’m sure so many will agree, from all career paths, that it comes good in the end.
Very useful video Christian, thanks! I've never had to use a ghost writer, however I'm progressively feeling the pressure to give it a go. What puts me off, is spending the time (that you're trying to save) looking for an appropriate writer and in some extreme cases auditioning people and asking for demo's, in order to fill what is a very important role. What are your thoughts on this? I'd imagine once you get to a certain point in your career you know a lot of people and have 'go-to' ghost writers, or alteast people you'd entrust with what, like you mention, can be a gold dust opportunity. Otherwise if you don't know who to go to, then you could spend the time you're trying to save finding a suitable writer thus making the whole time saving initiate obselete. Would be interested to hear yours, or anyones thoughts!
I find that when you work for somebody, especially in the beginning, you have to be self-effacing. After a good while, you must learn to master your craft and earn your role. Little by little you will become more of a peer to your boss/mentor, at least in work skills if not in the relationship. If you do your job well, he/she will stop worrying about you, grant you more freedom and manage you less and less, to the point where sometime tasks get shared evenly. Once you get to that point where you too are an "expert/resource", you are ready for the next level ... and getting to the next level will not be an insurmountable challenge or a suicide mission.
very inspiring lesson, I have been doing a lot of ghost writing for other composers, sometimes will worry about if this is the way to the end, even I am getting the big cut of the profit. Yet this somehow has turned into another form of business chain recently, many people that I ghostwrote for have turned into my broker/agent, because they have not done enough and cant catch on the pace of those rapid changing demand from clients. So I am getting different "agent friends" with multiple stable income channels, which isn't a complete bad thing so far and some of them even propose a plan of forming a solid studio like immediate music/2 steps from hell ect, and run the business together. (It is not easy to get a studio with reliable skills and good sense of taste at the same time here where I come from) Now I believe, the business is just going to be more and more brutal, the world changes fast, and a lot, only for those hold skills get to survive and run forever.
This year I have just caught an opportunity which is passed by one of those people I helped before, and it was a direct business between the client and I. I think your explanation is very inspiring and I am looking forward to that day when I could have more and more clients who I could "directly" facing. Again awesome lesson, thank you sir!
Thank you for that eye opening video! The analogy you used is indeed precise! Now I understand why I could never make it to the music business... I completely understand why some "good fellas" liked my music, but wouldn't support me. I thought I was into *music business*, but it's not music business apparently! Its just another "organization"... Actually its worse.... Because when you work for the mafia, you know you work for the mafia, you're not being tricked into thinking you're in something else.
I really can't believe what I'm hearing - especially the part about "honnor". I'm having trouble coming to terms with how deluded I've been, and with the fact that this mentality is considered a norm nowdays!
BTW If "great artists" don't do all the job themselves, consequently, the artists who do all the job, should be consider greater - and reckoned as such! In any case, the creative work of another person should be somewhere acredited. Period!
And since we re in the movie quotes: "Good business is where you find them" (Clarence Bodicker - Robocop), so please lets cut the crap with the "opportunities" rhetoric.
This...THIS is what TH-cam is all about. Invaluable.
Good discussion here. Personally, the 'boys club' mentality that I've experienced in most composing studio environments is something I detest so much. I'm no alpha, and I hate being 'blokey' for the sake of getting along with others. But that's just me - but it's meant a lot of work and soul-searching to figure out what kind of music career I'd be comfortable with.
Yup. Been there. I think there is an impatience with the younger artists today, that also seem to want the quick highway to the top of what they think is the important mountain of success. It's really not so important to get there as it is to learn as much as you can on the way and not feel resentful for that process. Resentment leads to backbiting, defensiveness, and other things that will eventually undo you ability to collaborate with others. That will hurt your path. I have seen composers who have an arc in their career, and then they are gone mainly because they just lost the ability to enjoy and explore whats really important. It's not dong a big Hollywood film, but to do something that is impacting and of value. Many years ago, once of my first films was for the Museum of Contemporary Art in Los Angeles about the Life of John Lautner, "The Spirit In Architecture". There were like several composers who contributed to the film. There was no money that I remember, but it was a valuable lesson for me to work with some very talented people and never felt slighted at all even though I probably was the only person who actually composed something to picture. Back in those days is wasn't easy either. No Protools etc. I think I got some studio time paid for at a 24 track studio. It was a proud moment for me and was honored to be able to do that show and be at the premiere. I just hope people understand the value that there is always going to be learning on every project beyond just writing the music. Being of service is the key!
Very interesting vlog. Most of what you say is true what ever walk of life we are on. Well said.
I've done plenty of ghost writing in my time and gone through the spectrum of emotions you mentioned Christian, being particularly frustrated during my earlier less experienced years (more hormones floating around me in those days I guess). Even though I'm further along with my career now, I still occasionally do the odd bit here and there but I do it as a collaborative and enjoyable process.
It can indeed be a 'gift' like you mentioned and should be regarded as such when you're 'on the job'. However, in my case I've stopped making the effort with a couple of composers I worked with in this way after being promised too many times that I would be compensated with an additional music credit / money yet not receiving anything. In one case I scored a whole feature pretty much and in another a TV film, yet was given no credit nor compensation. What made it more difficult is that these are composers who are also friends of mine here in London (and still are, they're great guys, I just think they struggled with a changing schedule).
So in my case, it's been useful to understand the process of composing and the intricate nature of composer -> fill-the-blank-here relationships within the industry plus, of course, to appreciate the insane time pressures and resource-dry environment we are often under as composers. But it has put me off continuing down that path unless it's contractually clear what the terms are, even though I know that can be quite difficult to put in place with so many players involved.
In most cases, personally I feel it would be more fruitful to put effort into establishing relationships with directors, producers, editors, orchestrators and everyone in-between who you will work with as a composer directly rather than trying to get a ghost writing gig to reach the same position. That way, you set yourself up with the support structures you need to get the jobs in the first place.
Here's my situation. I've been circling the indie film circuit composing and have just completed my first small British indie scifi feature film... I wanted more than anything to find an opportunity to Assist or Ghost write when I started out (I'd probably still consider it now!) but those opportunities are seemingly 1 in a million and are very hard to find which left me no option but to forge my own path. To me the problem is that it's quite well known that many of todays established composers came from assisting or ghost writing so for all the new, up and coming composers it's become the norm... school, music degree, assistant, famous composer. My worry is that it's not a realistic path to expect to happen for the majority of us and we shouldn't be afraid to graft on our own. Do excellent work at every opportunity you get, network, get recommended to someone else and so on and so forth. Both these paths are marathons and I'm still probably only a few miles into mine but I'm making progress. As it happens on the feature film I had a little bit of budget and the score called for big traditional film score and I'm not musically educated so I actually took on an assistant. A great guy studying at the Birmingham Conservatoire who filled all the skill gaps I have in terms of theory and orchestration to come in to work on what I've written to just help it more realistic and grounded in what an orchestra can actually do. Anyway! Love the videos Christian. Sorry I've essentially just written an essay.
Benjamin Symons yes I think it suits some areas of the business than others, namely mainstream...
I always wondered how Ghostwriting actually worked. The way you describe it is not unlike traditional animation. Disney's "Nine Old Men" didn't draw every frame. They drew a few key poses, then handed those off to their assistants to draw the inbetweens, sometimes with instructions or charts about how the timing should work. The assistants were brilliant artists in their own right, and often went on to become key animators themselves, but their job in that moment was to draw in the style of the key animator and make sure the finished shot felt like a cohesive whole.
very interesting, thanks for this Christian! I have a question regarding awards (maybe you could answer in an upcoming video)
I recently worked on a short film which won an very big award and I would hope this could evolve into my name getting out there and hopefully get more work. Whats your take on awards taking your career further? Helpful for a composer or not? thanks!
Found that pretty interesting as I am someone who reaches out to producers who also do ghost writing. Just like he mentioned, sometimes it's like I have A + B but no connector, or who knows what else I might throw at them. What I've often found so far is that these writers don't seem to like it when I ask them for revisions or tweaks. They often want to believe that what they've done is supreme and it seems like that since I am coming to them they should know more and know what is best. I find it hard to find ghost writers who are humble yet also have competitive rates.
Wonderfully insightful perspective on this! I've assisted a few times and I think approaching this mindset makes you a very attractive collaborator.
Does accepting a ghostwriting writing gig violate the terms of PRS?
Many thanks,
Darren
Makes me both glad/happy and sad at the same time. But what you say and describe is true.
Sometimes you're not the word, you're the highlighter pen. Great quote from Reeves Gabrels on his guitar work with the Cure. Sums up ghost writing well for me.
Great video Christian. I have never used a ghostwriter and personally I think I’m too much of a control freak with my own work let someone else mess with it however I’m totally up for having my mind changed so never say never. Would I ghostwrite for someone else? Absolutely. Relationships are so important in any industry as are scruples and integrity so I agree with you completely. Keep your mouth shut, do amazing work and the wind will eventually blow in your direction.
Right on point Christian... I know from experiencing this first hand being on both sides of this subject.
Powerful video bro!
I have nothing intelligent to add here (unfortunately), but I wanted to mention: as a “professional” musician with 42 years of experience and “professional” media composer with approximately 93 days of experience, your channel, and your weekly brain purge are the most valuable thing to me at the moment.
That is, with regards to my new adventure anyway. I’m married with children so you fall somewhere after that... between Pop Tarts and a good bowel movement I would think. But, don’t be alarmed... I enjoy a warm Tart a great deal.
Thank you for all you’re doing for this community.
P.S. If you make it this far: I’m considering buying the “everything” bundle from Spitfire. If you pay that amount (which is a considerable sum) do you get any newer things as they’re added or does the $11,000 represent just what’s in the”everything” bundle at the point of purchase? Also, are you guys considering going to a subscription model? A lot of people dislike that idea but, as a Slate -Avid-Pro Tools subscriber, I would welcome the idea of spreading out the cost of everything and you guys would have a recurring revenue stream that’s easier to forecast. Any thoughts ¯\_(ツ)_/¯?
I remember David Seaman because of Ronaldinho Gaúcho's goal from 2002 World Cup quarter-finals...
What I would give to be a ghost composer.. !!!!!
No offence to the guy that commented about it, I get it, but you don't know how lucky you are actually having the opportunity to work as a composer in the movie business and having your music used in movies. As a sound effects editor, I've seen my work ripped off, and un-credited on movies and tv because of being sub-comissioned sound effects editing by the leading editor. But hearing your work on TV and in the theatre, what a feeling. I definitely wouldn't mind hearing my score, or even just a motif or melody or even just a "phrase" I composed for a scene or character as a ghost writer, on the TV on the big screen. Or even just an idea of a theme, that would be AWESOME!!
Unfortunately thats part of the business.
Print what you just wrote out and frame it. Then, if you ever get to be a composer on a big project, take a look at it after you've been up with no sleep for several days, frantically racing against a deadline. ;)
Having spent 35 some odd years in one for or another of audio and music production, I have delved recently into the land of media composer for Indie film makers. Referring to your well defined chart on the subject, I do see myself having served in most all the rolls you illustrate so well. However, in my world, it's just been me answering to myself as composer and all other rolls accept ghost writer. So I'm not sure this video relates to me and the struggles I face as a one man band, so to speak. But, how it does relate to me has to do with relationships. I do collaborate with arrangers, orchestrators and composers on occasion. But I really never had the opportunity to share my knowledge with an "A" list composer as an underling wanting to develop my craft. However, I do also see clearly, your points. And for me it's about recognition and collaboration with team members to produce well thought out scores. And I suppose, it has to do with having served as an intern at Westlake audio many years ago and my mentor stopped me one day as he opened the back studio door for me so I could enter with a dozen coffees for crew and talent. And he said.... "Jim, this isn't your record. This isn't your band and you're not the producer or the publisher. You are an intern here and you must, as we all have in the past, leave your ego right here at the doorstep every day you enter this studio and beyond". And he was right. I have lived by that creed ever since. And I think in my world it's served me well. And today, after watching this video, it has been once again reaffirmed. Keep coming with insightful VLOG's Christian. They do touch us all in one way or another.
Depends on the workload. If you are like us and score over 30+ TV movies a year, you absolutely need help. But everyone gets properly credited and gets 100% full writers share and equal pay. Back in the day when the studios would give us publishing, we would give 100% full publishing as well. :) Miss those days! lol
There's a fascinating (and productive) discussion on the Facebook Group Trailer Music Composer's Support Group, about someone posting on social media that one of their tracks had been placed on a film trailer, and the production company responsible for the trailer essentially bullied them into taking their personal post down - some companies apparently have as part of their standard contract that people can't discuss their involvement on social media.
Given that film trailers are essentially advertising, and that composers contributing to those trailers get no named recognition, this seems harsh.
You can stand up against this, but then risk being branded as "difficult" and ostracized
In Summary, don't worry about the small stuff or what your benefit will be, it will always come back and ultimately you just take ownsership of what lands on your plate, own that shit to the best of your ability like this is the last time you will have a chance at it whether it will be gone the next day or last. What you did will stick to it because you touched it.
Thanks Christian. I higly value this video.
How would you explain stylistic career paths such as Johann, Olafur, Dustin O'halloran etc etc.
Either become an assistant or focus on getting your specific genre based music heard for film consideration?
liquidcast my brutally candid response would be I think it is more difficult to become a successful artists than an applied media composer. The indie marketplace is even more saturated than the media one. You can work successfully as an anonymous and mediocre media composer. You can’t do the same when making records. So that’s my “go figure” answer. If you’re a staggering talent with a truly original voice go the Olafur route, but bear in mind he doesn’t do it to get TV work... the touring, the promotion, the pressures of radio interviews, public appearances, meet and greets etc etc
Really interesting, having never been an assistant aside from the occasional bit of mixing and prep I agree with what you've said. You have to work your way up. I have always thought that it is better be a jack of all, master of none type at the start. It allows you to develop and refine your interests and skills as you progress further within the field you work in. The first person I heard this advice from was Steven Wilson and then further down the line Sia. Steven Wilson is now a solo artist but throughout his career he's ghostwritten/mixed for hundreds of artists, and can fill the Royal Albert Hall within a few hours of tickets going on sale (Olafur is in this same bracket) Sia... She is a force in her own right. Ghost writing for some of the biggest names within the music industry (Zero 7, Guetta, Rihanna, Adele to name a few) and also the film industry (The Great Gatsby, Hunger Games, Star Trek etc...). 'The Spectrum of Composery-ness', like it.
Probably more polite to say jack of all trades... Having a good broad knowledge of everything.
I saw a video about Sia's song writing routines, and to me it seems her piano player is doing a lot of the work.
interesting point christian, like the stressless modular :-) have a nice we!
I was recently brought onboard for 4 US TV shows for a guy who’s sample library I wrote a demo for. He was taking 50% of the writers share even though the music I contributed was mine from scratch etc. But there are two ways you can look at it...
1. This guy is taking 50% of my money.
Or
2. I wouldn’t have this work without this guy, it’s 50% I wouldn’t have otherwise.
I find it very important to be no.2. That work has lead to lots more work which I’m now getting 100% of the writers share for. Had I thought about it like the first example, I would have just been bitter all day long, not enjoyed a second of it and probably told him to do one.
Ghost writing is a great opportunity and like you say Christian, you just need to sit tight and the benefits will come.
Sam Fuller is go with 2 too... you would probably find that if he/she didn’t take 50% of the publishing they’d be in breach of contract and you’d both be chucked off!
I was wondering if in future you could do a video which covers lufs and how to use the the loudness metre plugins properly. There is a lot of videos from other channels but me and a friend find them a bit confusing as it seems as though they are missing out half the information. We wondered if you could do a video on them as you are much better at explaining things then other people :)
Hey Tom! I'm not Christian, but it's not too complicated - you should be able to find all the info if you just keep looking around. If it helps, I'd just say find out what volume you're aiming for - there are different standards for different mediums (and it's not initially always intuitive - theatres have much quieter mixes than songs that go to iTunes for instance, but this is because the actual volume of the speakers gets cranked, and it allows them to have a really large dynamic range - which is also what creates room for those insanely loud SFX). A lot of broadcast/tv/theatrical sits in the around -23LUFS area. I believe Netflix asks for -27LUFS (super easy to find the requirements sheet if you google it). LUFS is similar to RMS but takes into account the entire program (film, episode, song, etc), and has a slightly different algorithm to account to how humans hear sound rather than just being a mathematical average. You also want to watch out for your True Peak (there's usually different requirements as well for different mediums, but definitely don't clip, and safe to stay below -1 if you can). And then I believe there's either momentary or short term you need to watch for as well (keep forgetting which) - which is basically LUFS but monitored over shorter segments of time rather than over the entire program (for example, you may have 2 minutes of really quiet audio, followed by 10 seconds of absurdly loud audio - your overall LUFS will average the whole 2 min 10 sec out, so it'll still be fairly quiet given that most of it would be quiet, but the momentary/short term will end up being way too high over those 10 seconds - which you need to avoid as well). So it's essentially a few tiers of volume information over different proportions of time that you want to watch for. There's also the general dynamic range for the material you're listening to (the smaller the number, the closer the loudest and quietest bits are in volume - i.e. smaller dynamic range - and vice versa). In terms of how it works, what I do is I turn the plugin on, then you play the entire material (song, commercial, etc) and monitor what happens - at the end I take a screen shot for reference (unless I'm still tweaking).
What I'd recommend is to look up what the suggested LUFS readings are for different mediums - particularly those that affect you (TH-cam, Netflix, Theatre, Songs - spotify, iTunes, CDs) and also try to see if you can measure the LUFS from these different sources yourself and see what happens in your plugin (for instance throwing a bunch of your reference tracks in your DAW and running the whole song while monitoring the plugin on either your master or that track) - take screenshots so you have a reference. Then match it as best as you can. At the end of the day, it's not the end of the world if your LUFS is off - if you mixed something at -18LUFS and it's supposed to be -23LUFS, it'll just get brought down in volume. But the tighter you get to 0, the more limiting you have to use, and you loose your dynamic range - so if your work is going to get brought down anyways, then you might as well mix it with the dynamic range for the LUFS it's going to be at.
Anyways! I'm not an expert, just did a ton of googling myself when I was learning, but I know that it's always great to have someone help you out when the information online is unclear or hard to find - so hope this helps and didn't make it more confusing for you!
Also make sure to reset the plugin if you made an adjustment and want to run the material through again to see if you get a different result
@@kkrouglow Hi Kevin i say wow at your lengthy but useful response :D I am testing out a few commercial tracks now and it's very interesting to watch the numbers float about in the areas that are suggested. They may deviate slightly but not much. The loudness metre I have been using is called YouLean loudness metre. I have the free version but looks like if you go pro paid version you get access to more presets for what you should be aiming for.
@@tomparsons7995 glad it's useful! (: - all the numbers are just algorithms that average everything out according to certain parameters. The closest thing to LUFS is RMS (root mean square metering - rather than peak) - which already is a form of averaging rather than calculating the loudest peaks. Fluctuating numbers is normal, that's why in guidelines (such as for broadcast, for netflix, etc) they also set a true peak limit, and a momentary/short term LUFS limit as well (as this is more so like your RMS peaks rather than your actual waveform peaks - i.e. the overall loudness [usually a result of more compressed material - more compressed = can be louder overall without clipping] rather than the highest points of a waveform.). In practice, first you could approximate your level to be around the -23lufs (if you're mixing for broadcast for instance), then you want to see if you've got really quiet bits and really loud bits, and see if you've go so many that it's pushing the whole thing up too much in loudness (as it averages over the length of the entire track), or that you're too quiet (at which point you can just turn the whole thing up - as long as you don't go over the short term LUFS recommendation).
Presets are great, but not super necessary - I haven't heard of the one you're using, but I got the Izotope one as part of their music production pack - and though the presets are helpful in actually showing things go in the red if they go over, so long as you know what numbers you're aiming for, it doesn't really matter. If you see that at the end of the track/episode/film it's gone beyond your target LUFS, then adjust and try again.
Google what the target/recommended levels are for your desired medium. What I roughly remember when I was looking stuff up is that songs on iTunes/Spotify etc tend to be mastered at around the -8LUFS level (crazy loud/compressed - partly because of the loudness war, and maybe partly to make sure that when you listen in a car or on your ipod or in noisy environments things don't get lost in the dynamic range). TH-cam etc tends to sit around the -12 to -18 LUFS range if I'm not mistaken (they'll either turn things up or down to match it). Broadcast is around -23LUFS (to make sure that whenever you're watching TV you don't get a certain program or commercial be much quieter or louder than the others) - and again, they'll adjust it as far as I know, but better to craft whatever you're doing to those parameters. And then I looked up Netflix which says -27LUFS - perhaps Theatrical is the same?
If you look up Hans Zimmer's "Time" from Inception, you'll notice right away that it's WAY quieter than say a pop/dance/future bass track that you can also look up (or any pop track for that matter really). However, as you keep listening it keeps getting louder - this makes a huge impact in theatres if you crank your speakers - so it was mixed to the film which I'm sure sat around the -23/-27lufs range, while the speakers themselves (or playback system) would've been turned up significantly (if you were to play something at -8lufs on that system you'd probably go deaf), so the cue didn't have to be very loud to sit well in the mix, and had a lot of room to keep growing.
Anyways, another long message :p
Cheers!
As a side note/suggestion: if you're mixing/mastering a song, and you know it could end up anywhere from iTunes, youtube, a commercial, to a film, I'd say get it as loud as the loudest medium, and normal to that genre (check out other similar tracks) - because you can always turn a track down, but you can't turn it up without clipping (unless you compress/limit, but I doubt anyone will care enough to do that, or care enough to avoid distortion when doing it - unless it's their job and they're mastering/mixing your track for instance). However, if you're doing a score for a film and it's going to be in theatres, you definitely want to take advantage of the dynamic range and not have everything completely squished and then turned down by 15db - if you're also releasing the soundtrack for sale, then maybe get it re-mastered separately for that medium.
Are there any non-industry-specific business books you'd recommend to composers? I want to support my practical knowledge of freelancing with a deeper plan and understanding of what I'm working towards.
This is a great debate to have. Having been on both sides of this ( still am sometimes ) I agree its good to know and follow the code, although it is always evolving slowly. I do feel like more exposure for ghost writers is becoming a bit more normal. I think there really is honourable behaviour a lot of the time, but it does strike me as kinda interesting that the analogy which comes to mind here is that of the a criminal organisation.. My wider question : I think ghost writing is also wrapped up in the ( Gormley like analogy ) myth of the sole genius auteur creator. This clearly happens because its a romantic ideal people like to buy into. But.. is it actually healthy for us, or indeed anyone to perpetuate?
So what is being made? (and what is the one that was crossed out?)
Valuable information. Thoughts on that we are required to more and more of the tasks on the Spectrum of Composeryness simultaneously along with being a tech, producer, mix engineer, mastering engineer, agent, etc?
Hi Christian, these are really useful discussions. Can I ask about 1 point. Around 13:00 you talk about using the downtime, ‘even at 4am’ to work on and fine tune a cue, but I wanted to clarify something.
My experience of scoring projects and the film biz generally is that the expectation of work loads are already completely abusive, with the idea that sleep or any other semblance of being a human are pretty much ignored by producers and other HOD, so your comment prompted me to ask your opinion about his aspect of the industry. I fully acknowledge you mention your own ‘questionable choices’ around work life balance, but I get the impression you may have some useful perspective on this.
Cheers.
I think the ghost writing experience (and really, all the various assistant roles) are quite different these days. So much work is just assignments coming down the internet pipe (here are the files, here's what's required, need it by 8AM tomorrow my time - good luck!). I've produced music for fairly big projects without ever even talking to anyone on the phone. Just emails and stuff moving back and forth via ftp, electronically signed contracts, payment via PayPal (or some other esoteric electronic service). Maybe things are different in major centers like London, NY, LA, etc. But that scenario of slipping the client a CD of your material while the head composer is in the restroom is never even possible a lot of the time these days, because everyone is never even in the same place, anymore. The assistants working away (ghostwriting, or whatever) at the other end of an internet connection in some other part of the world are never even seen. A whole world of 1's and 0's moving about through copper and the aether.
Fantastic video as always.
I thought the points on how to be a good ghost writer were excellent. Unlike others below I have not been on either side of this process before, and I thought it was interesting how you do not seem to be a fan of the idea when concerning your own music.
That said, are you _sure_ I can't give you a CD showreel for your consideration?
Marcus Warner I am a very very poor collaborator when it comes to my own music. I have an internal dialogue that I find very difficult to explain and / or I’m a control freak.
Is there work that you have denied solely as a result of that? And I suppose more broadly speaking looking at where you are now, is there something to be said for being a control freak?
Right on!
The legal battle around who wrote the James Bond theme is written up nicely here: www.jollinger.com/barry/lawsuit.htm. It tells how John Barry was paid 250 quid (a few grand in today's money) to sort out the James Bond theme and, pertinent to Christian's Ghost Writing vlog, how he also got a promise of future work if Dr. No was successful - a potentially nebulous promise as additional thanks for doing some orchestration in the background. Dr. No was a smash, the promise was kept and Barry ended up being the composer on eleven Bond films, which led to other film work that garnered him five Academy Awards. His launch into the composer stratosphere was kicked off by doing a "we need your help" orchestration job. You could argue that John Barry's talent would have got him to the top anyway, even without that Bond opportunity. But as far as pay your dues/door opener stories go, it is right up there.
Great message, Christian.
I do al lot of ghost writing in a haunted house! No egos just a few pale friends with ideas floating about!
I think you're right, but I am worried about engendering a 'keeping schtum' culture. Whilst it might be right to support our fellow creators on our way up, we rarely call out bad actors in the industry for fear of losing work. Too much deference can be as bad (or worse) than too little. Right now, in the UK, deals are being made asking composers to forgo *any* writing publishing through 'buy-outs'. We know that British publishers are playing a role in getting these deals signed and yet creator voices are markedly quiet. I know it's not your point, but I worry that if we tell young composers that the secret is to keep our heads down, we become an industry of push-overs.
Ghostwriting = Initiation Rite?
A destructive tradition that can’t be broken, because those that once were exposed to it, justified the experience with the notion that at some point they would be able to do the same thing to others.
A good ghostwriter understands that the task is to write in such a way that it sound like it comes from the person they ghostwrite for.
Composers/producers seem to get asked quite a lot to write in the style of others, as the job, without it being labeled ghostwriting, and on all those occasions, the composer/producer can put their own name on the work. So the situation isn’t unique to the ghostwriting situation, it is just a sort of creative limitation that some people are great at handling.
If a composer hires a ghostwriter, well then that composer sort of becomes Musical creative director, rather than composer, for the parts that the ghostwriter does, and the ghostwriter is the composer for those bits.
Christian Henson’s idea of the Head of department role of the composer, in this case, is to convince the employers that the work will be much better as a collaboration, giving actual composer credits to the ghostwriter. As long as the composer has actually composed bits of music, it would not be the poster name trick, leaving the name on there as a composer.
Looking at the credits on many pop albums, there is actually credits given to many of the producers involved, even though the album goes under the name of the artist. There are however unfortunately ghostwriters used in that business as well. But it is at least more accepted that people involved should be able to get credit, at least on a track to track basis.
I agree that the person that was exploited should not go around telling people, because that will not benefit them in the end. It is unfair, but it is the way it is.
It is up to the actual decent humans that work as composers to admit collaboration, and give credit where credit is due, as composer credit, and not just recommending those people when asked.
People that do good creative work should get the credit they deserve.
That arranger/editor that makes it all fit to the picture, if they get the recognition they deserve, it will be easier for other “Head of department composers” to know who to involve, or for people getting in to the business knowing who can give the best tips.
That sound designer/sound programmer that makes great sounds, deserves credits. (That could also include that studio technician/engineer that knows tricks on how to mic things to sound in a special way).
That highly skilled arranger that takes the files from the computer and arranges them so they can actually be played by musicians, or arrange the parts that can be played and gives feedback to the composer of what parts can’t be played by actual physical instruments, they should get the recognition they deserve.
Things like that may only be of value to fans, nerds and people getting in to the game, but no one deserves to be uncredited.
Favors should not include uncredited creative work.
Creative work should be credited, but could be done for free as a favor, therein lies the favor part, not in not getting the deserved recognition.
I love it when you get out the diagrams, Christian - they are actually very good visual aids. If only I could read the writing along that bottom line!
Love the gangster analogy - are you quite sure about that? Keep you mouth shut, and you will be made. Or you will end up in the trunk of the car?
Closet Arsenal fan?
I think the industry has only been held by the players (musicians). The record labels are almost certainly being deleted and will be deleted in the next 5 years. They're not needed and artists will prove that very soon.
Just as thought - I'm also a scientist (until my music income is enough), and I'm used to "tooting someone elses horn". Like, it was my idea, but in the end a team effort, and when somebody asks, yes, it was the idea of the big name there. And it happened that somebody came to me and asked me directly to work on a project. As it seems, the "code is known" - someone of that team around "big guy" had the great ideas - let's find out who. Since you are Ghostwriting, you won't get royalties, right? What about the neighboring rights? Meaning putting yourself in as "performer" so to speak - so you get a cut from the neighboring rights at least (same as musicians get on e.g concert recordings or producers) - is that a "betrayal" of the code or is this allowed? What do composers you know think of this way of getting "your fair share"? (Talking full ghostwriting, not arranging)
I have to disagree with you Christian. The reason being is that no matter how small part you take in a production or ghost writing in this case, should be recognised and why not. I am not saying to give an Oscar award etc...but acknowledgment or recognition. This will mean a lot to anyone giving them the courage and motivation to explore. Yes, I understand that you need to keep your mouth shut and get on with it (I have been in that situation). A Small gratitude will go a long way and gain respect of their mentors. As to your honest TH-cam vids I am really grateful for I am taking every bit of your advice in. It’s a shame we have to rely on TH-cam and podcasts to look for information not many around where I live in the South East. I would like to move into your field and explore with Indian music. Thanks for sharing your knowledge.
I’m curious, how many people are we talking about here... ghostwriting for too-busy big budget film/tv composers?
I’d be happy to ghost write. I’d be happy to be so busy that I need a ghostwriter.
brian steckler As a matter of planned course it isn’t that common, but as a necessity through desperation it is fairly common modern stresses of production drift coupled with the need to take quite a lot on in order to make a decent living.
Christian Henson Music Makes sense... sort of a sliding scale of struggle to make ends meet.
Did you just explain how the mafia works? :-)
It depends on the culture you live in.
Meritocracy doesn't work in every countries.
If you knew who I was you'd shit your pants.
I hope that Henson's ghost writer got the message clear and loud, mmmhhh? Keep silent and don't rat out on others, mmmhhhh?
I get it, this is how it works but fundamentally, if you work on something, you should get a credit. All these secret handshakes and winking pats on the back...its perpetuating a bad culture.
The myth of the auteur. All creative endeavours are collaborative
At least, ghostwriters can work with music
Far from Bs this is wisdom ,an algorithm ...one of them ...for success in music , based on experience ..how do I know...it’s just the same mechanics in relation to a life in science , for me a resonant parallel ., a formula I suspect for any endeavour in life. .. dealing with arrogance’s of human nature.....persevering,. Creating and delivering .Just imagine if we all had the purpose to make each and everyone succeed in our life groups. Most Homo sapiens don’t have such purposes or intentions ..we don’t characteristically play the type of games where everyone wins ..how strange😯
I despise any form of ghost writing that isn't openly communicated (contrary to, for example, a lot of autobiographies where it's made clear the "star" had help from a ghostwriter). Doesn't matter if it's music or books, classical or EDM music. It contributes to accepting lies and shenanigans as the defacto standard, helping dumbing down society even more. No, thank you.
P.S. There's an ocean of difference in hiring a co-writer or co-composer (even if it's your apprentice) or having someone ghostwrite for you and NOT crediting them. I don't know of a better scenario where "Give credit where it's due" is more appropriate.
Christian you’re promoting an oligarchical system in which a status quo preserve an enormous amount of wealth and power by exploiting good willed young composers. Older composers reap years of royalties as well as the benefits of having major writing credits in return for relatively tiny amounts of compensation for the young composers. Maybe you haven’t seen the royalty sheets on really large films but they are enormous. The spitfire cribs tours alone make that pretty obvious. This ‘made man’ system you’re proposing is typical of a generation believing the world should be governed by men down the pub being ‘loyal’ to each other and having a bloody good time through thick and thin. Who cares if Mr Charlie is actually taking home a few million more than young Mark. Actually artistic industries are the most vulnerable to people being exploited for their talents because they are too scared to ask for what is rightfully theirs. It is the exact area that does not need ‘made man’ scenarios, but more formal ways of building CVS, fair crediting for work and career progression. The system you propose leaves a young composer completely at the mercy of any tyrannical overlord they happen to be ‘lucky’ enough to fall under. Their acceleration is completely at the will of a probably incredibly insecure and stressed person who doesn't want to lose them, especially if they are talented. You’re currently in a very influential position for young people in this field and it’s slightly terrifying that you’re coming out with this kind of dogma.
perfect!
Christian, do you consider this the only way to become "Made"?
Michael Vignola no, but it is the route most trodden.
Why would you want to be president of the united states?
He waved at me at 18 Goodfellos the Bunnie Club Scotland Beat England Wemboly London they left the window open am in head waving at the Bunny Girls he did PS It might have Bavid Bowie sitting with him mmmmmm
Hey Christian, honestly, what a fucking awful culture that seem to be. Yes there's one thing of being a trustworthy companion to the main composer, but hiring someone on the basis that you better shut the fuck up who actually made this score, that's just so bizarre and feeding a sick culture. An honest business would be a composer saying yes off course I work with assistants and ghost writer and we're an amazing team together... If this culture is fed by the business the culture will stay the same.
Maybe this is just what needed: see your business as a team business with a creative director working with several supporting experts.
I'm sure there's many levels to this, as you mention getting help in hour own composing, but if culture is that a ghost writer should shut the fuck up, then seriously some composers need to rethink the value of other people and this culture they nurture.
corner liston I hear you but I feel you’re confusing being a ghost writer with being a ghost H.O.D. The examples I mention about keeping shtum are in respect to not stepping over the line into deputising head of department status which just confuses the fuck out of everyone and makes the HOD who is responsible for the whole budget and the legalities of the contract signed feel totally undermined.
@@TheCrowHillCo Hi Christian, yes maybe I am confused. The HOD is always the HOD. That's my point too. Any assistant not understanding that would not keep their job, in any creative business. Some of the examples you give in the video made me react because they tell a bigger story than stepping over the line. But maybe that's exactly what I misunderstood. Well, at least I learned I have feelings. Thought my brain was all eaten by cynicism.
No, the thing is this: Why on earth do you need something called ”ghost writer”? Just call them assisting composer and be transparent you need them and credit them because THAT'S a healthy creative culture and if your'e afraid the clients thinks less of your composing than the MADE composer needs to work on his ego because everyone knows that large projects needs creative assistance. The clients hired YOU, the MADE composer, because you have the creative direction they want.
corner liston I think I’ll probably do a follow up vid to this. For me ghost writing is composing part of a project without being seen to do so. If you hire Jerry Goldsmith to write a score he brings a cache to your project so it is in your interest if things go tits up and he can no longer do it all for Jerry to use ghost writers so that you have his name on your film. It is therefore crucial that the people he employs as ghostwriters don’t challenge the claim that JG is the HOD (you’d be surprised at how many times I’ve seen people do this) not indeed disrupt the process by trying to collaborate with the Director without the HOD being a part of it?
@@TheCrowHillCo HOD or musical director is not the same as composer. If they want a name on the poster, they can do the Co-composer, or Executive Composer, or Musical director, or any other way of keeping that persons name on the poster despite having to give credits to other composers as well.
Hiring a composer that can imitate the style of another composer, is fine, as long as they are giving credit for their work. So if you by ghost writer mean imitator, that is fine. But if you by ghost writer mean imitator that has no right to credit (the typical meaning), that is never fine.
It isn't honest to anyone, and it isn't fair to the composer not getting credit for their work.
As a musical director or HOD, one can still handle all the contacts with directors and producers, and be the one signing off on tracks, making sure it all fits. But that in no way means one can claim to be the composer of material that others have composed.
And the idea that they can claim that, create these situation, where a ghost writer might try to get pass them, to get in touch with the director or producer, to take over the role as composer if they are the ones doing that work.
If it is a team effort, well then credit the team.