The trend of work continued into September; it was getting a little insane. I also had a book to write, and people were already asking me about when it was going to be done. Sleep is something I’ve wished so many times I could forgo. I know how important it is, I just need the time for other things.
Things like the start of production for “SOLO the Series” (@SOLOtheSeries).
This was the first project @alliecine and I were working on together, and it got underway in September. Creator @JonathanNail pulled out all the stops, and even built a spaceship in his garage to shoot it. Yes, my job is not like your job.
I actually helped on set for SOLO, I worked the catering table, gripped, and even gaffed once (it’s a job that involves going up and down a ladder about 600 times to make minor adjustments, then you move it all to another spot after 15 minutes of shooting. Right after you beat the Director of Photography with an aluminum bat for 10 minutes. It’s actually a lot like being a composer, except I get to sit in a comfy chair in one place while I make 600 changes. There’s a big difference, trust me.)
I took more meetings with people I met on Twitter. @HeathVinyard and I met about scoring his webseries “End Result” (@EndResultSeries) over tacos; his passion and excitement reminded me of my first meeting with @JonathanNail.
I started working on the webseries (do you see a pattern here? Webseries are the new “thing”) “Fallen” (@FallenSeries) with E.E. Charlton-Trujillo.
Fallen is very Buffy-like in its cinematography and story, so it’s an understatement to say that I was excited.
On top of that, I was scoring the trailer for “11:11,” the feature film “K-Town” and the short films “Thank You Mr. Patterson” (Directed by @Sabra14) and “Taking The Fall.”
One thing I’ve learned as a composer for film and television over the last five years is that it’s always feast or famine. You have these times (like the spring of 2009) when there’s nothing going on. And then it’s like all the directors you’re attached to met up at some secret location, like a Denny’s in The Valley, and timed all their films to hit post at the same time just to drive you crazy. It’s really not as terrible as I let on, and I prefer to work this way. You just adapt your work methods and schedule to accommodate this kind of insanity. The other option is to find another career, because it’s always going to be like that. I love it. I love the rush of having a short deadline and forcing yourself to come up with ideas. I love being so busy you can’t think straight. I love staying up til 3am and getting up at 7am, excited to start all over again. It’s the best time I’ve ever had in my life, and the best job I’ve ever had, or could ever ask for.
I took a trip with @alliecine to the Tucson Film and Music Festival to see @michaelskvarla and @alliecine‘s film “Junkyard” play at the fest. @alliecine went to the University of Arizona in Tucson, so she took the opportunity to show me around her old stomping grounds. It was a great five day trip; I got to hang out with @brownambassador, who is not only an amazing DP and director, but a great friend. He went to college with @alliecine, and is like the brother I never had. He also has very busy hands that always seem to find their way into my pants. I make weird, sexual comments about Jorge not because I’m gay, but because it makes Allie squirm.
This month I also started managing multiple Twitter accounts, because I created one for the book, @FailWhaleBook.
I chose to create a separate Twitter account for The Book (this was how I referred to it before I had a title) because I wanted a place that was just about promoting the book. Most of the time. I broke that rule a few times when I tweeted The Book account like it was a horny teenager, hitting on all my followers (both sexes) and having it hook up with @NewCityAllison. The point is that I wanted some separation between the two accounts, one of which I was tweeting as a composer and not made of paper
Third-party applications for Twitter let you manage as many Twitter accounts as you need (@alliecine has almost 12, one for each film she’s producing. Yeah, she’s a fucking machine.).
There are plenty of great programs out there to use with Twitter, but I am in love with TweetDeck. They’re not paying me to rave about them, they may even ask me to remove this after they’ve seen the cover, but this is an unsolicited endorsement. The interface is so easy to use, there are multiple ways to set up your tweets so that you don’t miss anything, and running multiple accounts is a breeze. Once you’ve set up your Twitter account and have gotten the hang of the basics, I suggest you download TweetDeck and give it a spin.
And if you’re not on Twitter by the time you reach this sentence in the book… what are you waiting for?