In stock
can be shipped within 2 days

50.00 / ticket(s)

June 15th 2018, 10:00 – 17:00 H
Location: Elsa-Braendstroem-Haus (, Hamburg-Blankenese
Instructor: Stephan Eicke
Working language: English
Tuition Fee:
50,00 € (incl. 19% Mwst./VAT)
Forum Flatrate: 150,00 €  (incl. 19% Mwst./VAT)
(Any number of forums)
Flatrate: 1.800,00 € (incl. 19% Mwst./VAT)
(Any number of master classes, workshops, forums and special events)
20% Students Discount

The class is aimed at all people who are active as musicians with an interest in film music who either want to learn about the craft of film scoring or who want to actively pursue a career as composers in the media.

To be able to go into detail about how to become a successful film composer, a brief history has to be given. For any composer working in the media today, it is necessary to understand which problems one has to face today. This question will be answered by giving an overview of the developments in the film business from the old studio system to New Hollywood and the new studio system. All these eras presented different challenges to composers and these will be discussed.
Based on this, we will venture into the current climate when working for movie productions and discuss what is necessary to find work and maintain a busy schedule as a composer in the media. One of the most important aspects in this is the question whether film music is an art or a craft and what talent and knowledge an aspiring composer needs to have. This will be elaborated and shown with new, exclusive quotes and clips from successful composers working today. Film clips which deepen the understanding of the art and craft of film music. With these clips, we will discuss why an approach for a certain scene works and why an approach doesn't work to elaborate which qualities an aspiring composer needs to have and where the danger in failing lies.

Based on these clips, interviews with composers and the given history of film music, several questions will be discussed in the class, such as
How are test screenings a cause for pressure on the composers?
How do temp tracks make the job harder?
How does the marketing aspect of movies and the various executives influence the composer?
How come that no composer is nowadays able to work without assistants and/or ghost writers and in what regard is that a chance for newcomers?
Is it worthwhile starting out as an assistant or ghost writer?
How financially rewarding is such a position regarding royalty payments?
How can one become an assistant or ghost writer for a successful composer?
How has the Hans Zimmer method with Remote Control Productions changed modern film music?

For all these questions, interviews, film and audio clips and quotes by composers and directors will be given as an illustration and food for thought.

After this discourse we will discuss how the perception of the attendants has changed from the beginning of the class to the end of the class. Do they still want to become film composers and, if so, are they equipped for it?

Stephan Eicke worked for the only European film music magazine, Cinema Musica, for eight years, four of which as the editor in chief. He has written the music for over 50 radio dramas and advertisements as well as short films. In 2013, he founded the CD label Caldera Records which is specialised on the release of film scores. He has written countless articles, essays, interviews and reviews for several publications and is currently writing a book on film music. He has also given lectures and hosted film music events in Europe.

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