[Fmpro] Turning Down Work

[Fernando Rivas]

Chris,

I'm not surprised. I've had similar issues. The reality of the business
these days is that producers can get it done cheap and, no big surprise,
they don't give a shit about quality. They know most composers nowadays work
with samples and computers and can probably come up with something
relatively decent, or at least in tune.  I wonder which score was yours
since I watch the History channel quite a bit and I have heard some
outstanding work there - I've also heard some abysmal crap.

For a 'composer' these days background and education, even experience, often
count for nothing. You may be competing with a high school kid with rich
parents and lots of gear in his bedroom.

My only other observation is that if you wanted to work with this company
there was no reason to low-ball your first project with them.  Always and I
mean ALWAYS ask for more than you think a client is willing or able to pay.
In fact, scare them a little bit. Let them catch their breath. Let them tell
you how low they're willing to go. Why be a nice guy? You can bet none of
these people got where they are by giving their work (good, bad or
indifferent) away.

FR


On 8/6/06 2:22 PM, "Merritt Music Productions" <chris at merrittmusic.com>
wrote:

> Hi all,
> 
> Glad to hear the expo went well!  Thought you guys might like this.  I
> turned down a $5k job last week.  Here's why:
> 
> Last year I did a History Channel show for this production company.  It's a
> company I really wanted to work with so I did it for less than normal -
> $3,500.  I was thinking it would be the start of a long relationship and
> all, you know the drill.
> 
> Anyway, the music turned out great.  I'm not saying this to brag, I mean to
> prove a point here.  I have a top of the line setup with all the major
> samples and such, but I also played real cello, violin, flutes, guitars,
> drums and so on.  It was a real work of art in some places; they were
> amazed, and loved it.  I told them my price was that low ONLY for this first
> project.
> 
> After some time of not getting any more work from them, I realized: they
> don't really care about the quality.  Now that they've had a show composed
> for $3,500, which is not the cheapest they've had, they don't want to pay
> any more.  No matter what.
> 
> But it gets better:
> 
> They called me last week and said the usual:  they LOVED my work and really
> wanted me to do some more for them.  Great!  We talked about the show and
> the musical needs and I determined that I would still cut them a break.  I
> have a minimum of $5k.  That means that I normally don't do any type of
> project unless it pays at least $5k.  So I told them I would do it for $6k.
> A steal in my opinion for any real composer.
> 
> He emailed me back saying that they only had $5k in the budget (b.s.) and
> that it must be the SAME contract as our earlier project together.  I asked
> for him to send me the contract from the last project because I was out of
> state.
> 
> Turns out the earlier one was a pure Work-for-hire, granting the writer's
> share back to me.  These are the types of deals you have to look out for
> nowadays.  This production company is making THEIR OWN music library from
> composers who have scored their shows!  He told me this directly.  So when
> you score for them, they are REUSING your music as much as they want without
> paying!
> 
> I told them I would still do it, though.  $5k for non-exclusive licensing
> and NOT work for hire, or $10k for pure work for hire.
> 
> They haven't called back......
> 
> Moral - Composers should make EVERY deal be non-exclusive licensing ONLY
> (huge projects could be different)
> 
> NEVER do a work for hire!
> 
> Hope everyone is well.  I'll keep ya'll posted!
> 
> Chris
> 
> Merritt Music Productions
> 9701 Clearwater Drive
> Knoxville, TN 37923
> merrittmusic.com
> 865-357-5473
> 
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