O Que Você Faz? " Eu Componho Músicas Para Filmes E TV"

What Do You Do? 'I Compose Music For Film And Television'

There are some truly fascinating jobs out there. What Do You Do? aims to highlight unique jobs and the interesting men and women behind them. The goal? To encourage the next generation to pursue work that inspires them through relatable role models.

Ben Fox is a musician who primarily works in film and television. 

Image credit: Joel Clifton.

Can you describe your job? What do you do for a living?

I’m a composer for film and television, which means I’m hired by filmmakers to create original music for their projects. My job is essentially to work collaboratively with directors to write and produce the music that will underscore their film, guide the emotion of the audience, and bring a new dimension to the story being told. 

What attracted you to this type of work?

I grew up studying music and singing in choirs before spending several years focused as a recording artist, songwriter, and touring musician. It led to a lot of time spent in studios, learning over the shoulders of some super talented recording engineers, and developing skills as a music producer. Transitioning to film was really natural for me. I feel like film is maybe the most complete art form, in that it’s the result of a whole number of distinct art forms coming together to tell one story–the writing, the actor’s performance, the cinematography, set design, the music. When all of those elements are locked in and pulling in the same direction, it can be something really immersive, complex, and powerful. And music is my way to contribute to that.

Film composing is project-based, so I dive deep into one project, inhabit it for a while, then it’s over and I’m on to the next. It’s a fresh start every time, a different team, a new aesthetic, something totally different. So from a creative perspective, I love that this type of work has me constantly flexing new muscles and forces me to push the boundaries of my abilities. 

What kinds of everyday practical skills matter for the work that you do?

When you’re hired as a composer, your job is not only to write the music, but also to manage all aspects of the production of the film’s score. It can be approached in a lot of different ways, depending on your particular skillset. But typically, it means writing and orchestrating the music, performing, preparing sheet music, hiring musicians, contracting recording sessions, and working with software like Pro Tools and Logic Pro to mix and produce the final score. And because there are so many facets that go into creating a film’s score, you build up a network of specialized professionals you can turn to for specific tasks along the way. 

Scoring films is a totally different ballgame than recording albums, since you’re a part of a larger creative purpose and the music you make has to support and enrich the story being told. So it demands a lot of creative flexibility, and a willingness to listen and collaborate.  You have to always see the big picture and work towards the collective goals of the film. 

Beyond musical ability, what other skills do you cultivate to flex your creative muscles?

It’s a freelance career, so you have to be motivated. No set hours means you have to be organized with good time management to stay on top of deadlines as well as your business management and accounting. You have to be constantly expanding your network of collaborators, and you have to be eager to embrace new technology and constantly be learning and developing your skills.

But I think the biggest non-musical aspect of the job is the interpersonal skills. Navigating personalities and being a good collaborator is a huge part of the job. As a composer you build an intimate relationship with each director. You get inside their heads and have a front-row seat to their confidence and insecurity. So you have to have the emotional awareness to read people and support them where they need it. Music is one of the last links in the production of a film, and sometimes a director is completely thrilled with the film they’ve made, but a lot of the time you’re there to solve problems or add a dimension to it that the director feels they didn’t quite capture on screen. Whatever the case, you have to have sharp people-skills to read situations and understand what each project requires. It’s a balance of bringing your skills and a fresh perspective to the project, while being extremely sensitive to the fact that you’re stepping into something the director may have been developing for years. 

What's your response to parents who say that music should be a hobby, not a vocation? What's one small thing they can do to support them?

I come from a family overflowing with people who’ve chosen to pursue creative careers, so truthfully that’s not a perspective that was ever inflicted on me. Which is something I’m extremely grateful for. The attitude that art can’t or shouldn’t be a career seems silly when you have parents and grandparents who’ve devoted their lives to the arts and have built successful, fulfilling, culturally-rich lives for it.  

That isn’t to say that a career in the arts is for everyone.  And it’s not my place to speak on how anyone should raise their children. But for creative-minded young people who lack that type of support, my advice would be to seek out professionals who have the types of careers you aspire to, find out how they got there, and get to work.