Matthew Toffolo interviews some of the top Film Composers working in the industry today. Great insights on what it takes to succeed in any field in the movie business:
Interview with Composer Mateo Messina (JUNO, BREAKERS)
Persistence is key. Relentlessness is key. Time and time again I’ve found the people I’ve worked with who are on top of their game are the ones who stayed after years and years struggling. Just keep at it.
Interview with Composer Jeff Russo (Emmy Winner FARGO TV series)
Most important thing is for someone to create their own voice. We are all unique and original in our own way so we all have a voice. Find it. It’s the only way to move forward.
Interview with Composer Gilde Flores (Total Divas, The Wolverine)
The advice I would give to any young musicians who want to eventually compose movies is to be PATIENT, always work on your skill set/stay teachable, have an amazing work ethic, have consistency, have respect, and learn how to take a “no/pass on your work.
Interview with Composer/Musician Michael Abels (GET OUT)
Write the music that inspires you, because writing music purely for money will make you hate your creative life. Try to remove your ego from every piece you write. It’s so difficult to be inspired-yet-unattached, but it’s required to remain in a highly creative state. And you are a composer, regardless of whether you have a high profile project to your credit or not. Be the person you want others to see.
Interview with Composer/Vocalist Dominic Lewis (Money Monster, Batman v Superman)
Freebirds being my first big movie is a fond memory but I have to say getting to work with Jodie Foster and so many amazing people on ‘Money Monster’ has to top the lot so far. I’m also really proud of the score, it’s different and I was given a chance to push the envelope.
Interview with Composer David Buckley (The Good Wife, The Town)
When I was a boy, I sung on a soundtrack to The Last Temptation of Chris, and a flame was ignited. I went through a couple of decades of classical training before moving to London and starting to compose for jingles and crappy tv. I was learning as I was going though, and building up my studio and knowledge-base. I got the opportunity to come over to LA just after I turned 30, and jumped at the opportunity.