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Post by Jared on May 27, 2005 10:36:44 GMT -5
What are the restrictions for a composer in using the scores he/she writes after it has been recorded?
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Post by Ribbs on May 27, 2005 13:33:27 GMT -5
Not quite sure what you mean, Jared. Scores are typically owned lock stock and barrel by the film studio. That means that the composer has no control over the usage of the work. For instance, if I inadvertantly use the exact same melody on a new score that I had used on a previous film, the previous studio would have the right to sue me and the current studio. If I want to release a cd of a given score I have to get permission from the studio to do so. If the work was recorded using union musicians there are also financial encumbrances. Make sense?
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Post by Jared on May 27, 2005 14:42:01 GMT -5
Yep, that was what I was looking for. I just wasn't sure if, because it is YOUR work, you have a certain amount of rights to the score. Like being able to release a promo or what not.
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Post by Ribbs on May 27, 2005 14:47:11 GMT -5
Often composers will release a not-for-sale promo for purposes of demonstration. As long as nobody is selling them the studios and the union will usually look the other way. The second that money is changing hands, though, the hammer tends to come down.
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Post by Jared on May 27, 2005 14:51:56 GMT -5
Yeah, those pop up on eBay a lot and I get many of them as that is the only way some score have been released. It's a shame that the studios make it that way. There is a demand out there. The problem is the demand may not be enough for a studio to produce the CD.
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Post by Jared on Sept 12, 2005 16:41:02 GMT -5
K, more questions...
Do you ever perform on any of your scores? If you do, what instruments are you usually involved with?
Also, in regards to your post about the announcement with Betty Thomas, Do you have an "in" with certain directors?
John Williams definitely has an "in" with George Lucas and Steven Spielberg. I tend to see that directors choose a favorite composer and usually only hire that composer for their films. What is your take on that?
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Post by Ribbs on Sept 12, 2005 22:17:50 GMT -5
I usually perform on my own scores, unless it is only pure orchestra. I am a keyboardist first, so any synth or drum programming you hear is most likely yours truly. Occasionally I'll play a little percussion - I did all of it on Step into Liquid. On Queen of the Damned I played the gamelan and also nipple gongs (I just wanted to say that). Very rarely I'll play a little guitar - I'm not a schooled player, but if the part is simple enough I'll do it. All the funk guitar (such as it is) on The Honeymooners is me, either with my Telecaster or samples. I used to be a pretty good trombonist, but I only used it once on a score - I sang a silly melody thru it (while conducting!) for a cue called Dufus on That Darn Cat.
Regarding having an "in" - it's kinda like this: if you hire a carpenter to build a desk and he does a great job and you like the guy, you'd hire him again when you need a rocking chair built, right? Same deal. Makes life a lot easier for everybody when you already have a good working relationship. I've done three and a half movies with Betty, we go to parties at each other's houses, we have fun together. Why mess with success?
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mcdigit
Gibbs Newbie Member
Posts: 2
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Post by mcdigit on Feb 23, 2007 12:26:05 GMT -5
I believe I've asked you this before, but did you know Fred Karlin? I'm related to him. We hadn't reconciled before his passing, so I wanted to know what kind of a person he was. I know he had a huge impact in the world of composing and a great deal of respect. What about him?
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Post by Ribbs on Feb 24, 2007 13:30:59 GMT -5
No, I never got to know him. Sorry, no help here.
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