
Notes From The Deadline
The greatest enemy of original music in TV and film is, well, the original music.
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The greatest enemy of original music in TV and film is, well, the original music.

They say that absolute power corrupts absolutely. But it does give you a certain amount of artistic freedom.

To get a job in the media you need to do a job. Specifically, you need to write a pitch that will blow the doors off.

Pretentious hairy people have influenced the world of art in more ways than you might expect.

Increasingly, clients don’t just want your music. They want the opportunity to ruin your music, and waste hours of your life into the bargain.

It’s always vital to give the client what they want. Even if what they want makes no sense.

The way composers are treated by some clients is just criminal...

When people are paying peanuts, they’ll treat you like a monkey.

Sometimes a make-or-break opportunity can make you and break you...

The competitors you need to worry about are the ones you haven’t heard of. Yet...

You can find most things in the world of music for television, but don’t look for logic. Or dignity.

You can't please all of the people all of the time. Even when they are on the same production team.

The secret of success is to deal with failure in the right way. Which is easier when your failures don’t cost thousands of innocent lives.

Every TV producer knows the value of a good ‘ssssccHHH PRRRgghhh’. How are you going to give them what they want?

To reach the top as a composer for the media, what you really need is ‘people skills’ — and the patience of saints.

It’s only when you look back that you realise how far you’ve come...

Recent NSA wiretap transcripts have uncovered a transatlantic telephone conversation which could have disastrous consequences.

You might be the next Mozart, but if you can’t meet impossible deadlines, no-one will hear your music on TV.

Its lovely to be appreciated — up to a point...

Power corrupts. And absolute power terrifies...