guerilla_example.txt - Long gone are the days where the...

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Long gone are the days where the main tasks of a film composer were the seeking out of scoring projects and the writing process itself. Over the past few decades, the film scoring profession has undergone tremendous changes that have completely transformed the roles a film composer must fulfill. And these changes have come at an increasingly rapid pace, rendering the profession quite different than it was twenty, ten, and even five years ago. Thus, the many books that already exist on the film music business have in many ways become obsolete and there is a great need for a book that explains the profession as it is today. This is the goal of Guerrilla Film Scoring, a new book by film composer Jeremy Borum that discusses what one needs to be successful in the film scoring world of today, bolstered not only by the author s personal experience in the business but those of many other active and professional Hollywood film composers as well. Borum s book, however, does not merely describe the film composer s roles, it also discusses how one s time must be divided at the various stages of the film s production and, crucially, the kinds of stresses and strains this work can have on the composer. Indeed, Borum s book is neatly divided into three parts that detail the composer s roles in the film s pre-production, production, and post-production. Overall, one obtains a very clear picture of exactly what it means to be a film composer today. Borum s book is now available through Amazon.com and Amazon.ca, and for previews of the Guerrilla Film Scoring documentary and more Guerrilla Tips visit www.GuerrillaFilmScoring.com/videos/. I was fortunate to have the opportunity to interview Jeremy, asking him several questions below that grew out of the discussions in his book. What was your motivation to write this book? The main purpose of Guerrilla Film Scoring is to fill the gap between the study of music and a career in music, between the talented hobbyist and the successful professional. I studied music at four different universities and I have always disliked how disconnected the academic world is from the professional world. Most other areas of study have career guidance, job placements, and expected yearly salary numbers built into the programs. That is uncommon in music programs, and there are a great number of music professors and private music teachers who are unprepared to give their students that kind of practical mentoring. People who learn music outside a formal system have even fewer resources available to them. However, there is an enormous amount of opportunity. My motivation in writing the book was to mentor others, describe the current industry from the inside, and give composers a survival guide for it.
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