Iread a lot about "the good old times" and want to remember to attach "when the producer didn't consider himself a musician".The best thing, that can happen is a filmmaker who trusts the musical skills of the composer, but at the moment it's morecomparable to teenager talk: "I was like..hoho and then he answerded like..gigglegiglle but I felt like.. huaeeeee.."
I've seen (and that have been better cases), that often filmakers want music like this film with a little of that film.Command 120 min. music, but buy for 90% of the budged three pop songs from the charts to get more public (and worse, they do -but not for the film).Highlight were filmakers that knew exactely what they want: "a white lady noise" (serious citation !!), a rhythm like in that film ( the rhythm was a Tam-Tam clash) and so on. I think it is not so complicated to write in a short time a good score, as it is via internet very easy to contact very much composers (and they are often quite skills).But under the condition the filmaker trusts his crew there, where he has not achieved a competition! No my dear filmakers, even as much as I admire cinema, I don't know how to make even a decent shot, I studied music. Please let me do what I can do best for your money.
In the end you have to throw away good music, because someone heard the supermario of his son an hour before the meeting.Than you have to smile, "maybe the music is good but only the notes are wrong", comes very good by the way.Though you know that isn't the problem of the final cut or even the comments give you totally other very good ideas.
To an actor they describe the emotion of the scene, but why not to me? Why do I hear things like "the music there must be blue" ?
I think very much of us, not only those who have both profession (filmusic and "serious" music composition), can compose.
So, dear producers, search a filmcomposer because of his music, explain your emotinal dimensions, and come later back.Like in a restaurant.