Research Portfolio – Composing Music to Film
For this research portfolio, an area I wanted to explore within the music industry that I was most interested in is the profession of scoring music for the moving picture. Through my extensive research and passion for this art form, I will analyse the many prospects of this profession.
By definition, the art of film scoring is ‘the act or technique of composing original music specifically to accompany a motion picture’; however, with exploration into the moving parts of the profession, it is far more complex than a simple description. The process of composing music for the moving picture is a detail-oriented and arduous job; however, the results of this hard work are evident in the evocation of emotion and the enhancement of the atmosphere within a film, with the score leaving a legacy for years. The University of Berklee, a prestigious institution within the world of film music, factors in multiple responsibilities within this line of work, including managing the budget, hiring musicians, recording, producing, and adjusting the musical score when collaborating with the film’s director. When observing Berklee’s Career Communities (1970) website, more specifically their chapter on film composers, it states that when writing a score for a movie, composers are expected to have a deep understanding of musical theory and arrangement when orchestrating the music.
The process of writing a score for a movie is more complex than one imagines. Beginning the process is the hardest, trying to understand the thematic role of the story along with its meaning and emotion. Both the director and the composer often arrange a ‘spotting session’, which entails the decision of where the music should either have a more delicate feel or an intense feel. Following the spotting session, the challenge is the synchronisation of the music to the film, supporting the dialogue rather than overpowering it.
To enter the profession of film music, it is common to hold a Bachelor’s degree in any realm of music where you have acquired a strong understanding of music theory and technical experience, such as music production. In contrast, some institutions require a specialised degree in scoring for film and television, where individuals are required to have a deep understanding of orchestration, music production technology, proficiency in a musical instrument, and how each instrument sounds and works together within a score. The professional attributes which you must have to work within this industry are an extensive network of musicians, directors, and movie producers, along with more characteristic traits such as communication and organisation skills. The demand to replicate the emotions and dramatic effects that the film director envisions, combined with the pressure to deliver high-quality work within tight deadlines, is a daily challenge in this line of work. In a blog published by Abbey Road Institute, ‘Exploring The Art of Film Scoring’ (2025), they reflect on how one of the biggest challenges when creating music for the moving picture is being able to translate the director’s intention and visualisation of how the music should reflect the emotion of the film, or even intensify it. When the director and the film composer are in synch with one another, and both understand the vision for the film and the music, the process is smoother and yields better results in evoking feeling and emotion in their project.
A more intellectual challenge is producing original and unique scores for films, which include hours of experimenting with melodic ideas and various soundscapes. In the documentary ‘SCORE: A Film Music Documentary’ by Matt Schrader, they discuss how the immense pressures of creating unique scores and the composer’s “search for perfection” can lead to creative block, especially with the tight time frame of work completion, enhancing the stress and burnout of the work. As a film score composer, the hours differ from a typical 9-to-5 working day, making them arduous and intense. Those in this line of work often face personal and life-altering events, which are often greeted as challenges when faced with project overlap, tight deadlines, and tiring hours, making it essential for composers to prioritise flexibility and organisation in their work.
Throughout this profession, there are many legal and financial issues which affect being a film composer. Within this line of work, you are required to ensure credit when it is due, for example, licensing pre-existing music used within the score. In more complex cases, where an orchestra or team is involved, it is essential to fairly credit all individuals who were involved, whether they were a performer, music editor, or sound engineer. Due to the enormity of the project and all the moving parts involved, film composers often find it a struggle to disperse their budget effectively, and it is seen as a challenging component. As stated in the article ‘Music, Money, Success & the Movies’ by Jerrery Brabec and Todd Brabec, even the most simplistic projects require a large distribution of fees, ranging from musician fees, recording studio and equipment costs and post-production employees, with a considerable percentage of the budget for the composer’s personal salary or commission. To make a living and to create a distinguished name within the music industry, film composers need to secure royalties for their work. Royalties are earned through performing rights organisations, public performances, and people streaming their music on social media and streaming services. According to a blog published by John Joseph Wiater, Film composers often get paid exponentially more if they are renowned within their field, earning money through both performance royalties and money earned through streaming services. As stated by Junte-Se A Nós in his article ‘Protect Your Royalties and Protect Yourself’, he mirrors the importance of compensation for your creative services: “My royalties arrive dutifully each year and sustain myself and my family completely”. Within this article, he reflects on the fact that in order to make a livable wage and to maintain financial security, you have to require the correct royalties on your labour and original work.
With consideration to the knowledge and skills you bring into the work, such as being able to read and write music, orchestration, musical theory, and even production skills in most projects, what sets a successful film composer apart within their field is their creative and experimental qualities within their work. In an interview by Rick Beato, Hans Zimmer discusses his experimental journey for scoring the movie ‘Dune’, sampling various sounds and creating a unique and otherworldly atmosphere within the music. Hans reminisces about “inventing instruments” for this project, a skill which would distinguish his score from the average composer. Within the progressive nature of film, many composers have to develop their creativity when scoring, especially in this era of technology. As covered in a fairly recent video, titled ‘5 Essential Skills You Need To Work As A Film Composer’, A musician discusses how the advanced, modern-day technology opens new ways to manipulate and work with multiple sounds which are not derived from the classic orchestra instruments. Scoring film music to new and contemporary movies is a challenge; however, understanding the current technology and exploring different ways of engineering sounds creatively, composers are able to reflect the current musical soundscape of the 21st century.
To grow your profession as a film composer, there are multiple ways to gain more recognition and opportunities for your work. Film composers often own their websites, which reflect their creative and unique compositions while maintaining the respectability of a portfolio. Some composers, especially those who write music for family and teen films, such as Micheal Giacchino, have a strong social media presence in which they collaborate with movie producers like Disney or Pixar, and directors through movie posts and trailers to influence more views on their production; because of the revenue and attention to these movies, film composers gain recognition for their scores through the movie’s success, promotion, and the mention of their name within the end credits. As discussed by Navid Lancaster in his blog, ‘How to Market Yourself as a Film Composer’, other, less-known ways of self-marketing your work are to get involved in film scoring competitions and live performances, gaining more exposure within the public eye while introducing new ways of income through tickets, merch, and contest prizes.
When starting a profession in film music, it is best to broaden the scope for scoring opportunities and make close connections with all types of people in the industry, ranging from musicians and producers to film directors. Reaching out to film composers who have experience and the skills for the profession is also a viable option, picking up creative ways of working and experimental sounds through others. Film Composer often start their journey with a strong portfolio, followed by many opportunities once their work gains exposure, such as scoring for low-budget movies or working within a film composition agency. When developing a film scoring career, there are multiple paths within this profession to follow, such as a composer, music supervisor, sound designers and engineers, music coordinators, and much more.
In summary, film composition is a universal language that conveys emotion and meaning into any visual media. Although the intensity of the work causes creative, personal, and financial challenges, such as creative block, burnout, and income struggle, when the project moves smoothly as a process, the results can be beautiful and timeless.
Refrences
Carlos Bricio (2025), Exploring The Art of Film Scoring [Blog post]. Abbey Road Institute. 10 July. https://abbeyroadinstitute.co.uk/blog/exploring-the-art-of-film-scoring/ [Accessed 17 Dec 2025]
Davis, R (1999) Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV. Berklee Press.
Jerrery Brabec and Todd Brabec (2007) Music, Money, Success & the Movies: Part Three. https://www.ascap.com/help/music-business-101/music-money-success-movies/movies-part3#copyright [Accessed 18 Dec 2025]
John Joseph Wiater (2023) How are Film Composers Compensated and Paid? [Blog post]. Medium. March 23. https://medium.com/@composerjawn/how-are-film-composers-compensated-and-paid-ead5482adfc5 [Accessed 27 Dec 2025]
Junte-Se A Nós (2025) Protect Your Royalties and Protect Yourself. https://international.yourmusicyourfuture.com/pt-pt/protect-your-royalties-and-protect-yourself/ [Accessed 20 Dec 2025]
Navid Lancaster (2020) How to Market Yourself as a Film Composer [Blog]. 20 October. https://www.stage32.com/blog/how-to-market-yourself-as-a-film-composer-2403 [5 Dec 2025]
Rick Beato (2025) The Hans Zimmer Interview [Video]. https://www.youtube.com/watch?v=TbeevzNmU1g [Accessed 9 Dec 2025]
SCORE: A Film Music Documentary (2016) Directed by Matt Schrader. Gravitas Ventures. https://www.score-movie.com [Accessed 27 Dec 2025]
University of Berklee (1970), Career Communities Composer (film). 1 Jan. https://www.berklee.edu/careers/roles/composer-film [Accessed 27 Dec 2025]
Whittymusic (2023) 5 Essential Skills You Need To Work As A Film Composer [Video]. https://www.youtube.com/watch?v=KgNM3xBrlws [Accessed 18 Dec 2025]
Kompanek, S (2004) From Score To Screen: Sequencers, Scores, And Second Thoughts: The New Film Scoring Process. Schirmer Trade Books.
