datamusicata

Today I got three of my songs into an independent film that is in production and it reminded me that I haven’t talked much about how to do that. Having been living in Los Angeles since 1980, you would think that I have had a ton of music in films, but it is evidently extremely difficult to make it thru the filters and gate keepers. I have had two different film agents and I am afraid that neither one could get my music into a film. It’s possible that the music just sucks and I’m deluding myself (as well we all might be), but the response from audiences and critics to my performances and my recordings leaves me to believe that it is something else. Which brings us to the topic today…Networking.

For those of you who might not know, networking is simply connecting with as many people in the arenas where you want to work, making your work and your presence known and making certain that all those people who are also in your arena are reminded of your work and your presence. If you have enormous success then the phone rings and you fend offers…but even then, you are only hot for a moment and then someone else is hot and you’re just another one of the people doing it. So what do you do?

First off, join as many professional organizations as you can and then attend their functions…something that I have been remiss to do for several years…lazy, discouraged, busy,…there are a million excuses but the fact remains that it’s my fault my music isn’t in more films. It’s a lot of work going to all these functions and promoting yourself in such a way that folks don’t run when they see you coming. But I digress. Attend all these functions.

If you hear of brunches and lunches and networking parties, go to them all. You never know when you are going to connect with someone who actually can hear what you are doing. And you really only need one person like that. Look at what Brian Epstein did with the Beatles. They were turned down by everyone …everyone. And he would not give up. Take a lesson there. And always have a couple of copies of your best stuff with you. But don’t hand them out like breath mints. Make the offer count.

Secondly, follow up on all the people that you meet at these functions. Send them emails, send them your product. Unless it is something that’s too timely to pass up, it is better to send them your work as soon after the contact as possible. That way, they are again reminded of you, as opposed to them finding your CD under the seat of their car two years later and wondering who in the world you are. Personal contact followed by reminder contact followed by product followed by the “just checking to make certain you received the…” contact and then period contact to just keep the avenue open.

It’s these contacts that make it happen. Nobody is going to come over to your house and go thru your drawer looking for the perfect song for their movie. No matter how good you are. You need to be seen and heard at every opportunity.  And knokwing these people and reminding them of your talent and availability is a great idea....as long as you don't come off like a whore for your work.   Try to use some finesse and sensitivity, but keep your eye on the prize.   I think it might be better to get the prize than be liked by everyone and have no film credits.

If you have the opportunity to work with an agent, keep in mind that it is your job to keep the agent on target. They have lots of clients. Make certain that you are in their mind and their heart. And when you get a lead, send it to them and then follow up. If someone actually makes some money working with you, they are much more likely to think of you the next time that they are called upon for a tune.

Now in the instance of today, the film producer wanted a specific song from a specific album I had produced, actually three specific songs and they contacted me directly. It might have been wiser to contact my film agent (who works with me on a non exclusive basis), but I did not think that there was enough money from this small budget independent film to take up her time. That being said, I now think I should have turned the producer over to her anyhow. That was a mistake on my part. Even though I’ll make much more of the advance by doing it myself, you want these people involved with you and you want them to make some money for their involvement. That can always lead to more work, whereas doing it yourself is not going to endear you to your agent. Wow, I’m still learning every single day, every single transaction, every single song. How about you? I’ve got to stop writing and call my agent.