RESEARCH PORTFOLIO: Film & Television Composer
Introduction & Contextualisation
I am a multidisciplined artist and been working intermittently within the music industry for more than thirty years. Much of my knowledge comes from decades of lived experience. There are many comparable skills and qualities required professionally that span across the whole of creative industries. However, in order to provide a more balance perspective, I have were possible refrained from using my prior knowledge and relied more heavily upon the research literature and information learned at Leeds Conservatoire (LCM).
For my area of research I will be exploring the profession of a composer within the Film and Television (TV) industry.
Industry Qualifications & Experience
Historically, film composers would have studied music and composition formally. In the book ‘Complete Guide To Film Scoring’ are a number of informative interviews with leading industry composers, outlining their education and career paths. Most have studied academically and gained music degrees. Some however found their way to film composer through other branches of the industry. For example, Danny Elfman, originally wrote music in the rock band Oingo Biongo.
“The fluke was getting asked to do Pee Wee’s Big Adventure. [Director] Tim Burton was a fan of Oingo Boingo, and he just had a feeling that I could do more than I did with them”. (Davis, 2010)
It is common for many composers to have built up experience within the music industry first, working as musicians, writing in bands or producing music. Artists such as, Vangelis, Tangerine Dream, Tom Holkenborg, and Mark Mothersbaugh all had successful careers before moving into film. The main attributes they possess is having an excellent knowledge of music, composition and production.
Alternatively, those pursuing more direct routes to be film composers are expected to work their way up after graduating. Often taking on junior positions, like a composers assistant or similar roles within the studio first. Having a music degree and specialising in one or more of the following; composition, arranging, orchestration, notation and music production is highly desirable when starting out. (Davis, 2010; Escott, 2025)
Personal Qualities & Professional Attributes
Possessing a good knowledge of film music and film industry is invaluable for understanding the roles and requirements of a Film and TV composer. A broad technical knowledge of music production, composition and mixing skills are essential for a composers working on small budget films. As it is often required that composers provide the director a mock-up synthesised score. This might even be the used for the final film release. (Davis, 2010; Escott, 2025).
They need to be competent and reliable, able to meet the requirements for the role. Capable of delivering the projects on time. Good communication skills are essential dealing with a broad range of people. Convey ideas and understand others that do not possess a music vocabulary. For instance, in ‘The Art of film Music’ (1994) Burt, details the some of the communication challenges between composers and directors. Understanding the directors vision is critical in helping to write a score that meets their wishes.
Adaptable; capable of adapting to changing situations. For example, if a director requests changes to be made in the score. Imaginative, good at good at problem solving and decision making in all areas of the business. Personable and gregarious, and able to work with a broad range of personality types.
Project management skills can be highly beneficial. If contracted for the full production of the score, as with package deals, composers could be responsible for hiring musicians, orchestra, studios and services (Davis, 2010). Although composers work alone much of the time, teamwork is needed when collaborating on larger projects, such as when working with orchestras.
Duties & Responsibilities (Daily Routine)
A composers day will vary depending on the project and which area of the Film or Television industry they work. If composing for a small budget film or TV, they will likely be responsible for creating and producing the entire score. In this instance, most commonly the music is created on computer using synthesisers and sample libraries. Though for larger budgets they may need to hire session musicians, orchestral players and recording studios. Turnaround periods can be from two to four weeks, and as little as a week with TV. Time is divided between spotting the scenes, writing the score and recording and mixing. (Davis, 2010; Passman, 2023; Morrell, 2025)
When working in TV generally have to produce a lot more material and can have an intensive work schedule. Morrell stated when working on TV documentaries “There was a time, about a five year period in London, where literally I was writing music every day” (Morrell, 2025).
Composers will be required to liaise with the directors and editors, and on larger scores may involve working with orchestrators and other session musicians. Unless agreed otherwise, the composer will also be responsible to provide the final mixed recording. Which has also to be delivered on time (Davis, 2010).
If self-employed they will be responsible for tax, insurance, gaining contracts, and self-promotion. Although they could use professional services in this regard to lessen the work load.
Financial & Legal Issues
The are many risks and pitfalls within the profession. A key to avoiding them is having an understanding contracts, legal agreements, rights of employment, publishing deals, record contracts and royalties. Organisations like the Musicians Union (MU) and PRS For Musicians (PRS) offer plenty of information, advice and support in this regard. For example, knowing how to ask for sufficient financial budget to cover the costs of scoring, paying for musicians and studio hire.
In his masterclass Escott, recommended using an agent when pursuing budgets for film score contracts, as they are lightly to be better at getting more money. He stated that prior to having an agent he often spent the entire budget on the delivery of the project, because he had not ask for sufficient funds for himself. Leaving no money to live on. (Escott, 2025).
Understanding legal contracts, and having a clear understanding of expectations required the role of composer helps prevent problems later. Protecting yourself from ‘Buyouts’ that are clauses within contracts that waiver the rights of composing copyright. As royalties can be a substantial part of a composers income that they receive throughout their career, it is important that composers protect them. (Passman, 2023).
The Musician Union (MU) actively ran campaigns ‘Fair Score Campaign’ and ‘Buyouts for Media Composers’ to raise awareness of these potential risks, and push for changes in the industry.
Freelance work posses additional challenges in gaining contracts and maintaining a sustainable income. Finney, highlights the challenges of cash flow in the book ‘The International Film Business’ he explains that you may have to wait months to receive payments or financial returns on a projects, so will need to find sufficient income to cover the shortfall. (Finney, 2022).
Marketing & Promotion
In ‘The Business of Film’ the authors outline in detail the importance of marketing for film. The Film and TV industries can spend large amount of their budgets to run extensive marketing campaigns for their products. They frequently run trailers of up and coming releases throughout their networks and social media. Some A-list films, television programmes and games will post teaser trailers months in advance of the release. For example, the latest Spielberg Film ‘Disclosure Day’ run its first teaser trailer in December 2025, is not due for release until June 2026. This gives plenty of time to build interest and create excitement amongst their fan base. Additional trailers will be released in the following months to build upon the interest. To bolster this even further, interviews with staring actors and adverts are commonly run in magazines, news papers, television and social networks. Nearer the time of release, posters are often placed on billboards and buses, in order to create maximum awareness to potential cinema goers. The accumulative effect of the campaign ensures the highest awareness of the film. Even though these campaigns can run into many millions of dollars, the profits can vastly outweigh the expense. (Greenwald & Landry, 2018)
On an individual level, composers often have websites for self promotion. Many market themselves via social media. As was leaned via conversations guest speakers at LCM some prefer communicate directly via their professional contacts when promoting themselves on social media. It is common practise to have an Electronic Press Kit (EPK) and possibly do occasional Video Logs (Vlog) on social media as marketing. (Escott, 2025; Stalder, (2025); Truman, 2025).
Additionally, composers may use agents and marketing agencies to act and publicise on their behalf.
Intellectual & Personal Challenges
As a professional artist, I have learned many challenges through lived experiences while self- employed. The broader the skill set and more versatile, raises chances of gaining contracts or employment. Making a sustainable living can be difficult. However by using various income streams, such as a Portfolio Career is one solution, as discussed by Taylor (2025).
Additional challenges are managing finances and keeping to constraints of tight budgets. Learning good money management is advisable. If taking position in a studio or production company, to be prepared to take a low position and being willing to do non-creative menial tasks. But recognise that these are temporary situations as you progress up the career ladder.
Film composing is a highly competitive market. Many other graduates and professionals will be seeking the same work. Failing to gain contracts is commonplace. Resulting in feeling let down and dejected.
As I have learned, it is important to keep productive and motivated, and not losing sight of goals. To alleviate stress; taking time out, meditating, going for walks, exercising, and socialising with friends is recommended. Living a balanced lifestyle is essential for maintaining physical and mental well-being.
Career Progression & Development Opportunities
Career-progressiondepends on specialist knowledge.Working as a composers assistant, copyist, musician, arranger, or orchestrator can provide more stable incomes. Additional income can be made from composing production library music, or creating sample library packs. (Truman, 2025).
Many composers pursue careers outside the Film and TV industry by releasing their music as an additional source of income. Gaining incomes from publishing, live performance, mechanise sales, or licensing their music through sync agents (Davis, 2010; Truman, 2025).
Composing for the gaming industry, musicals, theatre, and corporate jingles can be highly lucrative.
Advice given by composer Harry Escott was to collaborate with new directors and sound effects editors starting out in their careers. As they are more likely to want to collaborate, and could be mutually beneficial as your careers grow (Escott, 2025).
Funding Opportunities
The Arts Council has various grants for artistic development, music performance and production. Including support for emerging artists. PRS Foundation has a grant ‘Funding for Music Creators’. Vaughan Williams Scholarships has a ‘Post Graduate Composition Scholarship’. Francis Routh Trust offers grants for ‘The Commission of New Works’.
Conclusion
Film and TV composers need to have many skills and qualities, with a broad knowledge of their field and industry. They need to be focused, amiable and versatile. The range of freelance work for a can vary greatly, depending on the stage of career, and area of industry they work. It can be highly stressful and demanding working to tight deadlines. Conversely, it is equally challenging when there is no work. Most starting out have modest employment, and generally have to find incomes through various sources. This posses many challenges; intellectually, creatively, emotionally and financially. As learned through experience, making a living from ones art is not easy. As with other creative careers, those wishing to succeed as composers requires a lot of hard work, patience and perseverance. Maintaining a balance lifestyle is vitally important to well-being.
Having a good understanding of legal and financial requirements is for managing a successful business is advisable. Knowing how to protect your creative rights towards future earnings. Professional support is prudent in this regard. Either by consulting organisations, such as the MU and PRS For Music, or by having representation through an agent or other financial and legal services.
Networking is equally important. Forging good working relationships is essential, and building a good network of people around you is key in order to succeed. Getting to know directors, editors, sound designers and producers is highly recommended, as it greatly increases chances of gaining work.
To conclude, whether seeking employment or pursuing a freelance career, having a good portfolio and online presence is crucial in order to promote yourself to future employers or clients. Possessing a strong body of work is vital as a means of demonstrating creative abilities to potential directors, producers and collaborators within the industry.
Bibliography
Burt G., . (1994). The art of film music. Boston (MA): Northeastern University Press.
Davis R., . (2010). Complete guide to film scoring. Boston (MA): Berklee Press.
Escott, H. (2025) Film & TV Composing Masterclass. Leeds Conservatoire (03/12/2025) [Unavailable]
Finney A., . (2022). International film business. New York (NY): Routledge.
Greenwald S. R., Landry P., Kalb M. and Garson R. (2018). This business of film. Abingdon: Routledge. (Pages 155 – 171)
Morrell, B. (2025). Film Music in Context 1 [Lecture] (FLM4C003R) (02/12/2025)
Available online: https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=9df7497a-c5c8-443e-ac44-b35f009746aa&query=film%20music%20in%20context%201 [Date Accessed 08/01/2026]
Passman D. S., Glass R., . (2023). All you need to know about the music business. New York (NY): Simon & Schuster.
Spielberg, S. (2025). Disclosure Day [Film Trailer] Available online: https://www.disclosuredaymovie.com/ [Accessed 13/01/2026]
Taylor, J. (2025). Professional Studies 1: Working in the Creative Industries (SHR4C007R) 3.11.25 Available online: https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=54b93088-9db6-49be-a5d1-b38a00bde396 [Date Accessed 13/01/2026]
Truman, T. (2025).Professional Studies 1: Working in the Creative Industries (SHR4C007R) 10.11.2025. Available online: https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=f25b73fe-c2af-4ce8-a38d-b39100bfd8ec [Accessed 13/01/2026]
