Over at Scorecast, Jai Meghan shares his observations on the pitfalls of composing for TV:
It is pretty daunting to look at the TV landscape and the people who are already involved with scoring for television and ask yourself: How in the hell am I ever going to get a shot? So many shows are in production, not to mention the fact that television is not just about the “regular season” anymore — it’s about a fragmented “season” that now runs year-round.
The “Big Three” networks are now starting to show the signs of a marathon runner trying desperately to keep up with the young bucks that are also on the course. These “youngins” are starting to become directly responsible for some of the best drama and comedy on television, with second and third-tier premium cable leading the pack with content that cannot be shown in a regular primetime slot.
With all of these variables at play in the current TV landscape, and given the fact that most people would still rather recline in the comfort of their own living room than brave cellphones, babies, and teenagers with laser pointers in a theater setting, TV is 2.0 these days.
As a film composer, you might be wondering how to tap into this luxurious stream, and how to start looking for TV gigs today in the crowded river of television composers?
Read the full feature on telvision composing here.