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Neely is also composing the music for the new Blindspot tv series. And no, I have no idea how he keeps up.
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Posted: |
Oct 11, 2015 - 9:24 AM
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By: |
SchiffyM
(Member)
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Certainly nobody without a time machine can crank out that much music on a weekly basis.
Most television composers these days are both composers and brands. They score the pilot and key episodes and scenes, while farming out other cues to a stable of composers who work for them. They typically instruct the composer on which themes to use, what tone to go for, etc. And as the brand, the credited composer is responsible for approving the cues he doesn't write and changing them if he doesn't think they work. In a way, yes, this is ghost-writing, but in all cases I know of, the supporting composers receive credit on cue-sheets, meaning they receive the proper royalties. They are allowed to post their music on their websites to promote themselves. They just don't receive screen credit.
I'm certain this must be the case with Neely.
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Certainly nobody without a time machine can crank out that much music on a weekly basis.
Most television composers these days are both composers and brands. They score the pilot and key episodes and scenes, while farming out other cues to a stable of composers who work for them. They typically instruct the composer on which themes to use, what tone to go for, etc. And as the brand, the credited composer is responsible for approving the cues he doesn't write and changing them if he doesn't think they work. In a way, yes, this is ghost-writing, but in all cases I know of, the supporting composers receive credit on cue-sheets, meaning they receive the proper royalties. They are allowed to post their music on their websites to promote themselves. They just don't receive screen credit.
I'm certain this must be the case with Neely.
I'm assuming the same applies to Bear McCreary, who scoring 6 TV shows right now.
Remember in the 90's when they needed 2, and later 4 composers to score 2 Star Trek shows that ran concurrently?
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Certainly nobody without a time machine can crank out that much music on a weekly basis.
Most television composers these days are both composers and brands. They score the pilot and key episodes and scenes, while farming out other cues to a stable of composers who work for them. They typically instruct the composer on which themes to use, what tone to go for, etc. And as the brand, the credited composer is responsible for approving the cues he doesn't write and changing them if he doesn't think they work. In a way, yes, this is ghost-writing, but in all cases I know of, the supporting composers receive credit on cue-sheets, meaning they receive the proper royalties. They are allowed to post their music on their websites to promote themselves. They just don't receive screen credit.
I'm certain this must be the case with Neely.
The bottomline is that it's always been a team effort to make the DUB DATE for the show.
Mike Post had a great staff helping him out back in the 1980's on all of the shows he did and many of them went on to have a great careers of their own.
I know of countless cases when composers have used ghosts to meet deadlines.
In many cases that is how they got their start in the business as well.
It's the just the nature of the beast.
Ford A. Thaxton
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Certainly nobody without a time machine can crank out that much music on a weekly basis.
Most television composers these days are both composers and brands. They score the pilot and key episodes and scenes, while farming out other cues to a stable of composers who work for them. They typically instruct the composer on which themes to use, what tone to go for, etc. And as the brand, the credited composer is responsible for approving the cues he doesn't write and changing them if he doesn't think they work. In a way, yes, this is ghost-writing, but in all cases I know of, the supporting composers receive credit on cue-sheets, meaning they receive the proper royalties. They are allowed to post their music on their websites to promote themselves. They just don't receive screen credit.
I'm certain this must be the case with Neely.
I'm assuming the same applies to Bear McCreary, who scoring 6 TV shows right now.
Remember in the 90's when they needed 2, and later 4 composers to score 2 Star Trek shows that ran concurrently?
TREK was a very different animal.
Up until the last season of ENTERPRISE, the producers only wanted orchestral scores and had a good team with Jay and Dennis who got enough time as a rule to get the scores done pretty much by themselves.
That was very rare..
On the other SHIRLEY WALKER had a team of folks on SPACE: ABOVE AND BEYOND who jumped in and did cues (and get cue sheet credit) in order to meet the deadlines on that show.
This sort of thing has been done since films started to be scored in the 1930's.
Ford A. Thaxton
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Posted: |
Oct 11, 2015 - 3:29 PM
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By: |
SchiffyM
(Member)
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I'm assuming the same applies to Bear McCreary, who scoring 6 TV shows right now.
Remember in the 90's when they needed 2, and later 4 composers to score 2 Star Trek shows that ran concurrently?
The composers who work for McCreary have samples of their work on McCreary-credited series on their sites. Surely, those would not be there without McCreary's blessing. (McCreary himself got his break on "Battlestar Galactica" composing significant sections of Richard Gibbs' score for the miniseries.)
As for your "Star Trek" comment, it's really a matter of how television dramas are now presented less as individual episodic stories (often tonally varied) and more as parts of one cohesive saga. This applies across the creative disciplines, not just music.
Obviously, there was a big change from the time of the original "Star Trek" (where one week you might get Duning, the next week Fielding) to the time of "The Next Generation," where composers famously had to hew to a stock sound the producers wanted. Yes, we could distinguish McCarthy's sound from Jones's or Chattaway's. Now, typically, all the music is supervised by one composer, whose subordinates emulate his sound under his guidance. All the music is not composed by this composer, but it has his seal of approval.
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