MUSIC MEETS FILM mentoring sessions

Sessions are organised jointly by Music Estonia & Creative Gate development centre for creative industries.

Participants

Participants will be chosen through an application process. The target profile is (future) managers and/or agents interested to work with film music and media composers. In a small market such as Estonia such representation is locally mostly unnecessary and therefore underdeveloped. However, with a view to growing Estonian film music and media composers' international profiles, we need professional representation and competences. 

Register here:  https://musicestonia.typeform.com/to/TSMZ6P

For the sixth year running Music Meets Films is here, alongside IndustryTallinn & Baltic Event at PÖFF I 21st Tallinn Black Nights Film Festival. Talks and mentorship sessions dedicated to subjects related Film Scoring will run from Nov 30 to Dec 1 as the joint initiative of Creative Gate Development Centre for Creative Industries, Music Estonia and Industry@Tallinn.

Together with acclaimed music supervisor MAGGIE RODFORD (“The King's Speech (Film)”, "Kubo and the Two Strings”, “Harry Potter and the Goblet of Fire”), brilliant composer TOM PLAYER (“The Hobbit”, “Game of Thrones”), music agent NICK LEONARD and composer CHRIS BROWN (global music agency West One Music with clients like BBC or TV series “House of Cards” and “Mad Men”) will tackle current trends in film scoring, live orchestration, tips on how to make good demos and the role of music libraries in film scoring.

The curator and moderator for the program is Michael Pärt. He is a music editor who has worked on film scores for over 15 years. Prior to his recent project “The Danish Girl” he collaborated with film directors Peter Jackson and Francis Ford Coppola as well as composers Danny Elfman, Alexandre Desplat and Howard Shore among others. 

Maggie Rodford http://www.air-edel.co.uk/representation/maggie-rodford-2/

Tom Player http://www.lostrack.co.uk/tomplayer/?page_id=2

Nick Leonard, Chris Brown http://www.westonemusic.com/

Michael Pärt www.paert.com

and read more about mentoring sessions with music supervisor Maggie Rodford (https://industrytallinn.com/eng/creative/maggierodford), composer Tom Player (https://industrytallinn.com/eng/creative/tomplayer) and composer Chris Brown and music manager Nick Leonard (https://industrytallinn.com/eng/creative/westonemusic).

MUSIC MEETS FILM PROGRAM

November 30:

17:00-18:30 Opening words by music producer and editor Michael Pärt. Current Trends in the scoring industry. Music supervisor and composer agent Maggie Rodford shares her experiences of how film music has developed over the past twenty years and discusses current trends in the scoring industry (Nordic Hotel Forum, room Arcturus).

18:30-19:30 Introduction to production music, and a music libraries' role for scoring to film by music manager Nick Leonard and composer Chris Brown (West One Music) (Nordic Hotel Forum, room Arcturus).

December 1:

Mentorship sessions will take place in Nordic Hotel Forum 

10:30-12:00 Mentorship sessions for composers and agents with music supervisor Maggie Rodford (Air-Edel). Topic: Representing and working with a film music composer as a manager/agent (https://industrytallinn.com/eng/creative/maggierodford). 

10:30-12:00 Mentorship sessions for composers, producers, music composition teachers with composer Chris Brown (West One Music) and music manager Nick Leonard (West One Music). Topic: Production music (https://industrytallinn.com/eng/creative/westonemusic).

10:30-12:00 Mentorship sessions for composers with composer Tom Player. Topic: Working as a film music and media composer - skillsets, workflow and career options. (https://industrytallinn.com/eng/creative/tomplayer).

14:00-14:45 How to get a film scoring commission. Music supervisor and composer agent Maggie Rodford breaks down the process of the commissioning process in film music (Nordic Hotel Forum, room Capella).

14:45-15:45 Showcase of selected Estonian, Danish and Polish composers moderated by Jüri Muttika (Nordic Hotel Forum, room Capella).

16:00-16:45 The place of live orchestra/music and samples/synth in film, and how to make a good demo by Tom Player (Nordic Hotel Forum, room Capella).

16:45-17:15 The How and the Why of recording your next score in Estonia by Michael Pärt (Nordic Hotel Forum, room Capella).

17:15 + Networking drinks with key players of the Estonian music industry, powered by Apollo Music, Music Estonia and Creative Gate (Nordic Hotel Forum, room Capella).

19:00 + Regular Crisis: A cantata on Global Economy, a multimedia film by video and performance artist Marina Landia, performed by Estonian National Symphony Orchestra. Conductor Kristjan Järvi. Venue: Estonia Concert Hall, Estonia puiestee 4. Get your tickets here: http://bit.ly/2hHIu2Q   

MAGGIE RODFORD - Music Supervisor

Maggie Rodford is Managing Director of the Air-Edel Group, incorporating one of the world’s leading music publishing and production companies, representing composers worldwide. The company has offices in London and Los Angeles.

Maggie studied music, playing piano and cello and singing in choirs including the BBC Chorus. Maggie trained as a music engineer and prior to joining Air-Edel worked at both the BBC and EMI.

Maggie works closely with composers, negotiating contracts, producing, music supervising and co-ordinating music recordings. She has worked as music producer, co-ordinator and supervisor on many high profile films scores including ‘Murder on the Orient Express’,

‘Paddington 2’, ‘Darkest Hour’, ‘The Emoji Movie’, ‘Kubo and the Two Strings’, ‘A United

Kingdom’, ‘Everest’, ‘Cinderella’, ‘The Boxtrolls’, ‘Belle’, ‘Jack Ryan: Shadow Recruit’, ‘Third

Person’, ‘Anna Karenina’, ‘Brave’, ‘Cabin in the Woods’, ‘Thor’, ‘Jane Eyre’, ‘My Week with

Marilyn’, ‘W.E.’, ‘The King’s Speech’, ‘The First Grader’, ‘Atonement’, ‘Gosford Park’, ‘Bridget Jones’ Diary’, ‘Beyond the Sea’, ‘Pride & Prejudice’, ‘Harry Potter and the Goblet of Fire’, ‘Miss Potter’, ‘Igor’, ‘The Soloist’ and ‘Agora’.

Maggie served as a PRS Director for many years and was an active member of the PRS Executive Board. Maggie was a member of the BAFTA Film committee for four years and is currently the Chairman of the BAFTA Archive, Heritage & Exhibitions Committee. In 2004, Maggie was presented with The Malaika Award in recognition of her work with the African Children’s Choir. In 2012, Maggie was awarded an APRS Fellowship. During the festival, Maggie will appear in the following talks:

November 30

17:00- 18:30 Current Trends in the scoring industry. Music supervisor and composer agent Maggie Rodford shares her experiences of how film music has developed over the past twenty years and discusses current trends in the scoring industry.

December 1

10:30- 12:00 Mentoring session by Maggie RodfordThe entire session is participant-led, it’s based on the participant's particular profiles, prepared topics and proactive questions. 


14:00-14:45 How to get a film scoring commission. Music supervisor and composer agent Maggie Rodford breaks down the process of the commissioning process in film music. 


Mentoring session with MAGGIE RODFORD

Friday, December 1st 10.30 - 12.00

Topics:  

The core thematic area is: The main questions will be worked out with input from the participants chosen, but will most likely include some of the following:

  • The working process of composing for a feature film: from briefs to actual production of the material, editing to fit the needs of the material, workflow with the music supervisor and film production representatives etc.
  • The skillset of today's film composer: from scoring to handling electronic sound synthesis, sampling, specialist software; creating demos etc.
  • Career development of a film composer: how and where to start, in what stage should an agent or a manager get involved. Realistic balance between film work and other options (production music etc).

Participants:  

5 participants will be chosen through an application process. The target profile is (future) managers and/or agents interested to work with film music and media composers. In a small market such as Estonia such representation is locally mostly unnecessary and therefore underdeveloped. However, with a view to growing Estonian film music and media composers' international profiles, we need professional representation and competences.

The general goal is to give the participants as clear and realistic as possible picture of what the career models and workflow of a film composer can be like and what is the role and skillset of the manager/agent representing that composer.

TOM PLAYER - Composer

Tom Player is a British composer whose work can be seen on screens all over the world. Frequently composing for adverts, film trailers and for fun. Working primarily in music to picture, Tom is best known for his work including The Hobbit, Game of Thrones, Ikea, The Sunday Times ‘Icons’ (“Elaina’s Theme”) and more.  For a fuller showreel, visit www.losttrack.co.uk – Lost Track Productions
He has worked with award winning Hollywood composers such as Hans Zimmer, Ramin Djawadi & Lorne Balfe, and continues to collaborate with established, and upcoming, producers and artists. With classical credentials and a modern mindset, Tom is as comfortable with live orchestras, as he is with synthesizers and sound sculpting – aspiring always to create music with emotional intensity, resonance and to leave a lasting impression. Tom recently received a D&AD Pencil, and a Creative Circle award for his music, and is currently writing his second orchestral album, the follow up to 2014’s Resonance Theory. During the festival, Tom will appear in the following talks:

December 1

10:30 – 12:00 Mentoring session by Tom PlayerThe entire session is participant-led, it’s based on the participant's particular profiles, prepared topics and proactive questions. 


16:00-16:45 The place of live orchestra/music and samples/synth in film, and how to make a good demo by Tom Player.

Mentoring session with composer TOM PLAYER

Friday, December 1st 10.30 - 12.00

Topics

The core thematic area is: Working as a film music and media composer - skillsets, workflow and career options. The main questions will be worked out with input from the participants chosen, but will most likely include some of the following:

  • The working process of composing for a feature film: from briefs to actual production of the material, editing to fit the needs of the material, workflow with the music supervisor and film production representatives etc.
  • The working process of composing for other media forms: working with briefs for commercials etc; working with music libraries and production music.
  • The skillset of today's film composer: from scoring to handling electronic sound synthesis, sampling, specialist software; creating demos etc.
  • Career development of a film composer: how and where to start, in what stage should an agent or a manager get involved and what to expect from one. Portfolio - what kind of a presentation package needs to be in place to be on an international market. Realistic balance between film work and other options (production music etc). Basic industry partnership: publisher, music library, synch agent, music supervisors etc - what kind of a team does a film music and media composer need to be well linked to the scene.

Participants

·       5 participants will be chosen through an application process. The target profile is (future) film and media composers with some experience in writing for or working with film and other audiovisual media forms.

The general goal is to give the participants as clear and realistic as possible picture of what the working process and a career model of a film music and media composer can be like, what skills are need-to-have and what kind of a representation team and partnerships does one need to have in place in order to get a reasonable amount of work.

WEST ONE MUSIC (Global Music Agency)

CHRIS BROWN - Producer and Composer

Chris Brown is an in-house producer and composer at West One Music Group – a global music agency consisting of eight independent labels - where he has worked since 2013.

Chris began working with orchestras during his time at the Royal Academy of Music. He was first hired as an assistant to British film composer James Seymour Brett, and went on to orchestrate cues on NBC's ‘Crusoe' and Sony Animation's 'Planet 51’.

An introduction to West One Music Group co-founder Richard Harvey in 2006 led to him being heavily involved in film and production music work. This involved music editing and producing the music for a number of films including the Thai blockbuster 'King Naresuan', directed by Prince Chatri. Through this work, an introduction to Hans Zimmer led to his working at Zimmer's Remote Control Studios in LA and assisting on a number of Hollywood films before bringing this range expertise to West One Music Group. Chris is now Label Manager for Fired Earth Music, West One Music Group’s LA-based boutique trailer label.

NICK LEONARD - Creative Sales & Music Manager The Nordics, Baltics, and UK

A music industry professional with 13+ years’ experience and a background in commercial music and events, Nick started his career as a booking agent at X-Ray Touring,representing commercial artists such as Groove Armada, The Swedish House Mafia and Moby. Nick then began working at Ministry of Sound manging their International Tours & Event division hosting events at ADE, WMC as well as festivals across Europe.

Nick now heads up West One Music Group’s Creative Music teams supporting clients across Advertising, Film, TV, Radio and Video Game sectors. He brings in-house produced repertoire, off-the-peg production music as well as commissioned & bespoke compositions to his much loved client network across Europe. 

Most recently Nick has worked on sonic branding for the Danish broadcasting channel TV3, advertising films for McDonalds UEFA Women’s Euros Football Tournamentand a trailer for David Lynch’s 4K release of Mulholland Drive.

During the festival, Chris and Nick will appear in the following talks:

November 30

18:30-19:30 Introduction to production music, and a music libraries' role for scoring to film by Nick Leonard, Chris Brown (West One Music) (Nordic Hotel Forum, room Arcturus). 

December 1

10:30-12:00 Mentorship sessions for composers, producers, music composition teachers with composer Chris Brown (West One Music) and music manager Nick Leonard (West One Music). Topic: Production music.

Mentoring session with music manager Nick Leonard and composer Chris Brown (West One Music)

Friday, December 1st 10.30 - 12.00

Structure

The mentoring session is a small group format with mentor + 5 participants (+ an optional moderator). It consists of:

  • Short introduction and overview of the work and experience by the mentor
  • Short introductions by the participants (brief materials will be made available to the mentor beforehand)
  • Q&A with some pre-agreed focus topics (will be required to suggest by the participants when applying + adjusted and confirmed with the mentor or Michael Pärt).

The entire session is participant-led: it is based on the participant's particular profiles, prepared topics and proactive questions.

Participants

5 participants will be chosen through an application process. The target profile is both composers who are interested in creating music for film and TV as well as music composition teachers who want to gain a better understanding on the processes of how to best coach young composers and music business professionals.

Topics

The session will serve as a practical beginner’s guide to starting out with composing production music.

·       Starting out as a production music composer. What are the trends and where are the gaps in the global music market? What genres are least saturated and could be the best ones to start off with as a new production music composer?

·       Adapting your composition style to production music. The mentors will individually coach one composer in how to adapt their composition style to fit with the requirements of production music. Based on existing samples, we’ll look into what elements could make this production music, what could be added or change to make it more production-music friendly and how sticking to best practices in production music can provide an advantage to film composers.

The general goal is to give the participants as clear and realistic as possible picture of what the career models and workflow of a film composer can be like.