For Film Composers Only

What is your current stance on "buyout" deals versus keeping your backend royalties?

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Where do you see yourself ten years from now?

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Let's open up an old can of worms, shall we?
PC or Mac?

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On a scale of 1 to 10, how much patience does your film music career require of you?

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Have you ever scored a film without any strings whatsoever?

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What is your strategy for organizing your sample libraries?

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How much music could you create in 24 hours, including orchestrating, mixing and mastering the whole thing?

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When was the last time when you took a whole entire day off?

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Let's say someone offers you an unlimited budget for a massive orchestral score - would you truly be ready to make that happen?

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Have you ever had your whole system crash on you, at the worst possible time?

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Which notation software do you use? Finale, Sibelius, Dorico, or something else?

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How do you remember all of your passwords? What has worked for you?

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Do you think your physical presence in a major industry hub like Los Angeles provides you with big advantages for getting work?

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How do you deal with a director who has become super attached to a temp track?

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Have you ever written and mixed a release-ready cue on your mobile gear - or is your studio situation a non-negotiable reality?

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What's the one piece of gear or sample library you recently purchased that made a big difference in your workflow?

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Which underrated film score do you think deserves a deep dive?

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When starting a project, do you begin writing from the very beginning of the film, or do you zero in on a pivotal scene first?

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What habits keep you going when you get overwhelmed with all that you have to do?

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Time to talk reverb! What ideas or advice can you share? How do you use it to enhance your scores?

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There are composers out there who talk about musical clichés in film scoring - what exactly does that term mean to you?

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Do you concern yourself with originality? If so, how do you go about having that special spark in your music?

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Have you ever pivoted any of your rejected music into a successful library track or used it on a completely different project?

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Do you think it's more valuable to be versatile in all musical genres, or to become an expert at one specific niche?

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For those who record live sessions, what is your technical set up to ensure your session will be a success?

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Are you thinking of switching your DAW, or do you love the one you are using?

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After many hours spent staring at your DAW, what are some effective ways in which you are able to reset your ears?

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In your experience, what are the most effective metaphors or non-musical terms you've used to communicate with your director?

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What do you do to ensure that you have a professional-sounding mix?

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When is your best composing time?

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