FAQs

Index
 (Click on the hyperlink to read answers)

The Basics
Q: How does Indie Film Composers work?
Q: What kind of music do you offer?
Q: I need a great composer for my indie film. What next?
Q: Then what?
Q: What'll this cost me?

Songs/Soundtrack Albums
Q: Okay, say I want a lot of pop music in the soundtrack, and maybe a soundtrack album. What's the deal?
Q: How do I obtain the synch rights to a song?
Q: That'll cost me, right?

Help!
Q: I'm considering a number of local composers for my film. What can you do for me?
Q: What'll that cost me?
Q: I need help with musically-oriented contracts, nondisclosure agreements and the like. I can't afford legal help at this point. What can you do for us?

Money
Q: How can you get me a great film score on my limited budget?
Q: What if the composer is established and doesn't need exposure?
Q: Why can't I just call some Hollywood agents and convince them that my low-budget film is worthy of their big-name composers' talents?
Q: How does IFC get to these artists?
Q: Can you guarantee a star composer for my film?
Q: Why can't I just find my own composer--why do I need IFC?
Q: Why can your composers produce music for less?

Composer Submissions
Q: I'm a great undiscovered composer who'd like to submit a demo to IFC for consideration--what do I do?
Q: What are you looking for?
Q: What's the number one thing that sinks a demo right out of the box?
Q: And the number two deal killer?
Q: What element can you never get enough of in a demo?
Q: Are you prejudiced towards a demo with a lot of live orchestra cues in it?
Q: If a composer doesn't live in a hotbed of production like LA, Sydney, NY or London, can they still land a job in the field?
Q: Is there one "sound" indie filmmakers will always hate in a demo?
Q: How does IFC decide what material to present to a filmmaker for their consideration?
Q: Have you ever encountered such a filmmaker?

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