Video summary

I Quit Film Scoring – Here's Why.

Main summary

Key takeaways

Art and Creativity

Summary

The speaker explains why they left (or quit) film scoring and video game scoring to focus on writing standalone music—pieces created primarily to stand on their own as art, rather than to complement visuals. They describe how their passion for composing grew from songwriting, music technology/virtual instruments, and improvisation, influenced by friends who were a DJ/producer and a jazz musician.

They discuss what “success” means for composers, arguing that success doesn’t have to be measured by getting paid media work (games/film). Instead, they view success as releasing music and consistently improving—using a mindset of making each new piece “1% better,” avoiding stagnation, and experimenting with novelty. They contrast the freedom of self-directed projects with the frustrations of media scoring, where approvals can require redo/tweaks.

They name Anne Catherine Doran as a source for candid advice about the media-scoring industry, then share their current direction: composing concert and instrumental works, including producing an album of original songs for young singers (involving vocal studios and selected students). The speaker also encourages other composers not to feel guilty about preferring standalone composition, and emphasizes the need for self-discipline by setting personal deadlines using a backwards-planning approach toward release.

Artistic techniques, creative concepts, or processes shown (implied)

  • Standalone composing as an artistic goal

    • Writing music that can “stand on its own” emotionally and structurally, without relying on film/game visuals.

  • Songwriting + improvisation foundations

    • Using improvisational inspiration (creating ideas out of nothing) alongside composing.

  • Technology-driven music creation

    • Building music using computers, virtual instruments, and sample libraries.

  • Composition craft elements for memorable music

    • Developing memorable themes, complementary chord progressions, form, orchestration, and texture.

  • Continuous improvement loop

    • Iterating across pieces by aiming for small incremental progress (“1% better”).
    • Trying something different each time to keep compositions fresh rather than repeating the same tools.

  • Control vs. revision constraints

    • Preferring full artistic control over final sound/arrangement, contrasted with collaborative approval workflows in media scoring.

  • Self-directed production planning

    • Setting personal goals/deadlines, then working backwards (e.g., planning monthly milestones from the release date).

  • Instrumental + vocal workflow (current project)

    • Writing songs for young singers, producing them, bringing students into sessions to sing, then releasing an album (planned next year from the recording time).

Steps / materials / advice mentioned (organized)

  1. Define personal success criteria beyond media employment

    • Release music (whether a small win or a major milestone).
    • Measure progress through consistent improvement and output.

  2. Maintain growth

    • Aim for incremental improvement each piece (e.g., “1% better”).
    • Avoid stagnation or going backwards.
    • Introduce novelty in each new composition.

  3. When working for yourself, create your own deadlines

    • Set a clear target end goal (e.g., an album released on Spotify).
    • Work backwards to establish monthly tasks leading to the release date.

  4. For standalone composition/production

    • Build the core elements (theme, harmony/chord progression, form, orchestration, texture), then produce and release without external visual constraints.

Mentioned creators / contributors

  • John Williams (referenced as an inspirational film composer)
  • Koji Kondo (referenced as an inspirational video game composer)
  • Sean Cannell (quoted: Think Media “1% better” concept)
  • Anne Catherine Doran (named as a source for blunt media-scoring industry insight)
  • Disney (cited as a stylistic influence)
  • Broadway (cited as a stylistic influence)
  • The speaker’s current collaborator studios/students are referenced generally (no specific studio name provided)

Original video