Next in our artist spotlight series is Jesse Walton.

By the age of 16 Jesse had already been trained in classical and acoustic guitar, piano, and had an accomplished understanding of music theory. He went on to study Music and Music Technology at the East Sussex Academy of Music, where he excelled in composition and performance. He has completed a degree in Commercial Music at Canterbury Christ Church University, and is now taking his experience and expertise forward into what is sure to be a long and successful career in composition for film and television.

Please enjoy his song, I Hit The Ground:

It’s important. We can all agree on that. It can even elevate your project to another level of engagement. But how do you go about getting that perfect score for your project? Well, you start with the composer, of course.

Here are composer Jongnic Bontemps’ suggestions for how you go about finding a composer to work with.

We have many more videos with Jongnic on the way, so be sure to check back often. Or even better, subscribe to our newsletter and/or YouTube channel and we’ll let you know when the next one is online.

First up is Anielle Reid.

Anielle Reid is an American singer-songwriter and banjoist based in NYC whose music has scored the Australian short IN TUNE, has been featured in the benefit album for the non-profit RAINN, and has been featured on non-commercial radio including NPR.

Anielle has a single and an EP available for purchase on Google Play, iTunes and Amazon. You can also visit her on Facebook, Youtube, her official website or follow her on Instagram.

Here’s a beautiful video for her song submission, Morality:

Before jumping right in, however, it’s important to note that there are two different kinds of licensing to know about; the license you need to acquire for the original score you’re commissioning and the so-called sync license, which is what you need when you wish to use a song in your film. In simple terms, think of the score as the emotional string arrangements you hear as the film’s climax is approaching, while the synced song is Wayne and Garth singing along to Bohemian Rhapsody.

To explain the two different approaches to licensing, please welcome LA-based composer Jongnic Bontemps:

We have many more videos with Jongnic on the way, so be sure to check back often. Or even better, subscribe to our newsletter and/or YouTube channel and we’ll let you know when the next one is online.

*** THE PRODUCERS ARE CURRENTLY GOING ALL THE SUBMISSIONS – WE WILL BE ANNOUNCING ROUND 2 AS SOON AS POSSIBLE ***

The Storyteller logline: A young girl claiming to be immortal unites an unlikely family as she explores a world teeming with magic to escape the traumas of a dark past.

For inspiration, think of this film as Finding Neverland meets Once, and give these two songs a listen, so you know what we’re going for:

Bastion – Build that Wall

Scott Ainslie – Wayfaring Stranger

The music in this film serves as the glue that brings all of our main characters together. The story follows several people who have lost or repressed parts of themselves, and explores how they find their way back into authentic relationships with themselves and each other through music. The music in the film parallels the journey of the characters. It builds and grows as the relationships do, and we want it to be a simple acoustic arrangement that builds as the film progresses. A melody line that will pluck at the audiences heart strings, and speak to the softening and opening up of each character. The majority of the music will be sung by a 17 year old girl, accompanied by her music teacher on harmonies and acoustic guitar.

Now, this is what we need from you:

Send us one or two of your original songs in the bluegrass/folk style that you think best show off your songwriting abilities and musicianship. Songs you could see fitting into this film’s soundtrack based on the description and references above. These can be songs you’ve already written and recorded – no need to write anything specifically for us just yet.

We are especially interested in hearing songs with strong and (for lack of a better word) complex guitar parts, haunting and unusual arrangements, emotional melody lines and powerful lyrics.

Upload your submission via the form below.

And this is how we’ll be searching for the perfect song:

After we have reviewed all of the Round 1 submissions, we will announce a list of Round 2 selections on the site.

The Round 2 selections will each be granted a $50 stipend to submit a new demo of an original song incorporating lyrics and themes from the script. The producers will email all Round 2 selections with detailed instructions for submitting an original demo, to be written, recorded and submitted within one month.

After reviewing all of the Round 2 submissions, production will select and meet with one or two songwriters to discuss collaboration on the music for the film. Song contributions that end up in the film will be compensated accordingly and as agreed upon before a finished recording is submitted.

Even if your songs are not chosen as a Round 1 or Round 2 selection, we may – with your permission, of course – post your entry on the site and are happy to facilitate any contact between you and readers who may want to employ your songwriting services for their own projects.

*** THE DEADLINE FOR SUBMITTING YOUR ROUND 1 ENTRY WAS OCTOBER 1st AT MIDNIGHT (PST) ***

Be sure to visit our media partner Ear To The Ground – keeping you in the know of all things folk, americana, bluegrass, indie rock and more. Inspiration is out there!

Good luck!

Gabe continues to work on films as both an actor, writer, producer, director, and composer.

For many directors, music is the last thing that they think about and it is perhaps one of the areas that many directors know the least about. And that’s fine, especially since that’s why you are ideally working with someone that knows a great deal about music.

Just a few months ago, I scored a short film that a friend of mine had directed. My friend is an excellent filmmaker, but unfortunately he doesn’t know much about music. We had ended up wasting a lot of time in post-production because he wasn’t sure how to let me know exactly what it was that he wanted. As a composer, there are certain things that we want/need to hear from our director – and I’m not just talking about getting a good job and a pat on the back.

Give a frame of reference

Before your collaborator begins recording your score, you should hear yourself say the words: “The kind of style I’m going for is…”

And please be as specific as possible. If you want dissonant anxiety-inducing music and you don’t let your composer know what that means to you, you could end up with the most lovely sounding piano ballad you’ve ever heard. A good way to let your composer know what you want, is to show them some music for reference. This could either be from a particular band or artist that you think matches the tone of the film or it could be soundtracks from other films that you like. After this conversation, it might be a good time to have a spotting session. For those who may not know, a spotting session is when the director and composer sit down together and watch your fully edited film in order to figure out where the musical cues should be. As a side note, just because there’s room in the edit for a score, it does not mean you have to fill every second of your film with music. Silence can be just as powerful.

Provide honest feedback – and return with constructive criticism

When your composer gives you something that isn’t quite working, you should always offer honest feedback – and more importantly explain what you would like to change and why.

It is inevitable. Sometimes the music just doesn’t sound quite right. For a composer, there is nothing worse than spending endless hours crafting your music only for the director to simply say “This isn’t working, try again” and have that be the end of the conversation. When giving out any kind of criticism, I believe that it helps to start with what you liked about their music and then go into what needs to be changed. It can be difficult to critique music if you are not a musician, which is why the best way to go is to try to direct them by talking about the mood that you are trying to capture using words like gentler, busier, bigger, or more aggressive.

Give space

When your collaborator is working on new music, you should let him do just that. Work on it.

Nobody likes working with someone constantly hovering over their shoulder, so unless you are helping them in some way, you need to let them work. As a fellow artist, this should be understood. You wouldn’t want someone who may or may not know what they’re talking about telling you how to do your job. If you hired this individual, then you must trust in them enough to get the job done.

On a final note, saying good job with a pat on the back is also appreciated.

Please go to Vulture.com and read the full article – complete with video samples of the scores in question. Here they are in summary:

1. Up‘s “Married Life”
Lesson: Repeat, Repeat, Repeat

Michael Giacchino explains: “What you have to do is spend time celebrating this couple’s life together,” he says. “But by doing so, you’re setting people up to be completely sad when the inevitable happens. So it was about building an idea and theme that kept coming back in different ways.”

2. Super 8‘s “Letting Go”
Lesson: Do the Opposite of What You’re “Supposed” to Do

Whereas John Williams in the eighties may have gone big and bold with symphonic orchestra, Giacchino opted for the opposite effect. “For me, when [the locket] starts to float away, it’s about getting as quiet as possible,” he says. “If you’re dealing with someone who is going through a hard time, you’re not going to sit there and yell at them and ask them how they’re doing and be loud. You’re going to be as quiet as possible and talk to them and figure out how to help. That’s how I think music should be.”

3. Star Trek‘s “That New Car Smell”
Lesson: Know When to Strike Out on Your Own

After hitting wall after wall, writer Damon Lindelof eventually provided Michael Giacchino with sage advice: “Why don’t you forget we’re making a Star Trek movie and write a score to a film that’s about two guys who meet and become the best of friends?”

4. John Carter‘s “The Fight for Helium”
Lesson: People Still Want Melody. Give It to Them.

“[Golden age composers] weren’t afraid to come up with a melody and play it,” he says. “Play it, play it again, and play it again. You’re introducing an idea to an audience that they can hold on to.”

5. The Incredibles ‘“100 Mile Dash”
Lesson: Don’t Be Afraid to Crib

6. Lost‘s “There’s No Place Like Home”
Lesson: Be Quick

“[Lost taught me] how to be quick, be fast, don’t overthink things, go with your gut, and get it done as efficiently and properly as [I] can,” he says. Giacchino didn’t discuss musical ideas with J.J. Abrams or anyone on the show — there wasn’t time. For “There’s No Place Like Home” and its repeated use, it was hitting the notes, orchestrating, then sending off for recording.

h/t Vulture.com