Vienna Symphonic Library Forum
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  1. Home
  2. Orchestration & Composition
  3. Your Music
  4. Internship in Los Angeles
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    @Guy said:

    Hey Angelo, back in 1981 when you started the same way, I didn't know Pro tools, Logic, Finale, internet etc. all these computer software and hardware we sweat to learn existed back then....

    Yes, right, back then we didn't had ProStools and the other creepy crap, that's one of the reasons why the music of that era sounds so bad, we had to play the stuff because it was simply impossible to store much intelligence on 64 KB of memory. I owned one of the first Linn Drum and worked with the Synclavier.

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    Here a link to two videos of one composer and the studio folks who sleep 3 to 4 hour during production:

    part 1

    http://www.listal.com/video/210133

    part 2

    http://www.listal.com/video/210131

    .
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    Angelo (sorry, why do I call you Clematide?) Those are really cool links!
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    Just FYI, the schedule on that project was pretty extreme. Most projects aren't THAT frantic. JNH came in at the last minute after Shore's departure. Those guys do get paid pretty well for working in situations like this.
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    This part makes me laugh!! I'm surprised they didn't say: "you must be good looking with a great physique..."

    @magates said:

    People find you energetic, an organizer, a perfectionist / detail-oriented, having excellent communication skills, even-tempered, ambitious, creative, talented, gifted, intelligent, sharp / quick, functions under pressure.
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    These links and this film was extensively discussed when they came out. It basically shows a couple of things. (a) John Newton Howard is a workhorse and very good filmscore writer and (b) why even try to remake King Kong unles you're mad? and (c) you can't polish a turd with filmscoring and all those extra people getting well paid and all the hours they put in - mistakenly thinking that the more work you do, the better the film will be.
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    I enjoyed the links, thought they were cool, but of course thought they had absolutely NOTHING to do with the original post on this thread.
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    well, I can say this offer shows the real world in LA ! best, imusic
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    Place me in the camp that finds this "offer" abusive. Gary Eskow
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    Hey. I know you guys got alot of funny feedback, but I'm interested. You never can learn too much you know? I'm a full time pianist, keyboard musician that just purchased a VSL set. I'm trying to get my feet wet in the L.A. film scene. If its not too late please email me. Thanks
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    Hey. I know you guys got alot of funny feedback, but I'm interested. You never can learn too much you know? I'm a full time pianist, keyboard musician that just purchased a VSL set. I'm trying to get my feet wet in the L.A. film scene. If its not too late please email me. Thanks My email is ktnujynisis@yahoo.com
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    Learning is very a very wise thing but in this case you ALREADY have to be a genius, hercules and be Mr. personality.
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    nothing of the sort, guy, the listing of stuff you could get to do is meant to be incentive not perquisites.
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    One of the requisite is being "even tempered" I guess that would of left Beethoven out..... Sorry Mat just had to through that in. ; )
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    I am lacking in prelay skills. I do have some experience in foreplay though. Does that count Mat?
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    Bill do you even know what a prelay is?
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    No I don't. I don't need to. Your entire world is foreign to everything I am interested in.  Because what you exist for is technical knowledge for the sake of technical knowledge and for the sake of money-making - i.e. the essence of Hollywood film scoring.  

    My only interest in technique is as a direct route to artistic creation which must be done independently, as an individual, totally outside of the Hollywood system with is now completely corrupted by materialism. That is the world you desperately want to be a part of .  The world I rejected long ago.  And so your attempt at impressing people with technical jargon for that system, and judging some naive applicant to your "internship"  is nothing to me.

    Write one great melody for piano and I will deeply admire you.  Screw composers over  and try to then impress people with your "pro" requirements and terminology and I am contemptuous of you. 

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    @William said:

    Write one great melody for piano and I will deeply admire you.  Screw composers over  and try to then impress people with your "pro" requirements and terminology and I am contemptuous of you. 

    Hehehe! Not many people on music forums impress me in any way, shape or form. - But Bill does! :)))))
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    My take is that unless you have a lot of disposable income and or have someone to finance your operation in Hollywood.. you would be better off getting something together on your own in addition to something like this app.. I think it's always good to do, but one of my interns went to LA to work for a Grammy winning producer and ended up just answering phones.. He needed to find out on his own.. Know one can tell you how to pursue your career, but you. It's always a risk! Some good and some not. Being around that scene is like being on the road. Everyone needs to experience that to see those realities. I was down there for years.. Worked with Mark Isham and others which came about by just creating something that they wanted from me. That is sometimes the best way. Orchestrators are a dime a dozen unfortunately as are PA's.. As a side note a bit off topic... Enjoyed the Sony Lot stuff with James Newton Howard.. Worked there a bunch on sessions back when it was MGM before the face lifts in the 90's. I think it was 1996 when it changed to Sony officially. Pictures never get finished now, they just run out of time and get released.. The real story is that James Newton Howard replaced Howard Shore after "creative differences" with Peter Jackson. Then James hired about 25, (maybe less), orchestrators to finish the film. That was the dish on the lot. G
  • PaulP Paul moved this topic from Orchestration & Composition on