# Respuestas de Marc Jovani **Fecha:** 2025-03-01 04:39:26 **Modelo:** claude-3-7-sonnet-20250219 **Temperature:** 0.7 --- ## Pregunta 1 **Pregunta:** Who is Marc Jovani and how did your journey begin, from your first steps in music to becoming an internationally recognized composer in the world of film soundtracks? **Respuesta de Marc:** Hey there! Great question about my journey. I began my musical path in 1994 in a small town in Spain called Peñíscola, when my uncle Paco first taught me guitar. Though I later tried piano with a teacher named Mercedes, I wasn't particularly disciplined with practice – I'd often skip exercises to compose little pieces instead. My piano teacher noticed this tendency and suggested I might be better suited for composition. My path wasn't straightforward by any means. I applied to the Conservatory of Castellón twice and was rejected both times! Eventually, I was accepted as an auditing student under Maestro Ferrer Ferran. My first composition was harshly criticized – he essentially told me to throw it away and forget about it. I nearly gave up, but something inside pushed me to persist. Through determination and countless hours of work, I went from being the worst student in my class to graduating with honors. My teacher eventually recognized my potential in film music and recommended I apply to USC's film scoring program. The real turning point came in 2016 when my wife Ali and I moved to Los Angeles with barely $10,000 to our name. We struggled initially – no credit score, minimal furniture (I built a desk from bricks!), and projects constantly getting delayed. For nearly three years, I couldn't land significant work and began questioning if I was good enough. Everything changed when a friend recommended me to a client. That connection led to my first major film, which then turned into a long-term relationship – I've now scored 12+ films for that same client. My work has appeared on platforms like Netflix and Amazon Prime, and I've had the privilege of recording at iconic venues like the Warner Bros. scoring stage. Along the way, I founded Cinematic Composing to share what I've learned with other composers. We've now taught over 16,000 students worldwide, creating a community of composers who support each other. Looking back, my journey has been defined by persistence through rejection, learning to believe in myself, and understanding that sometimes your greatest opportunity might come from an unexpected connection rather than cold calls or formal applications. --- ## Pregunta 2 **Pregunta:** Working with major studios like Netflix, FOX, and Lionsgate undoubtedly brings significant challenges. What have been the biggest obstacles you’ve faced in your career, and how did you overcome those moments? **Respuesta de Marc:** As a film composer working with major studios like Netflix, FOX, and Lionsgate, the biggest obstacles I've faced have been quite different from what most people might expect. One of the most significant challenges came early in my Hollywood career. After completing several films for a major client, I delivered a project that didn't meet their expectations in terms of quality. They never called me again, and I went nearly three years without landing another major project. During that time, I seriously questioned whether I had what it took to succeed in this industry. What I eventually realized was that my biggest obstacle wasn't external - it was internal. The self-doubt was paralyzing my creativity and preventing me from taking the necessary risks in my compositions. I had to rebuild my confidence from scratch, analyzing successful scores and developing a systematic approach to film music that would deliver consistent results. Another major challenge has been the extreme time constraints of studio productions. On one project, I had to compose 60 minutes of music in just three weeks - that's about 2.5 minutes of finished music per day. I overcame this by developing highly efficient templates and workflows that allow me to focus on creativity rather than technical aspects. My template essentially mixes the music for me, removing one massive time sink from the equation. The third significant obstacle was the transition from smaller independent productions to major studio expectations. The production quality demands increase exponentially, but the timelines often shrink. I addressed this by investing heavily in my technical setup and building relationships with top-tier mixing engineers like Bobby Fernandez, who's worked on films like Spider-Man. What I've learned is that success in this industry isn't just about musical talent - it's about developing systems that allow you to deliver exceptional work consistently, even under extreme pressure. When you can do that, clients keep coming back. The proof? After rebuilding my approach, I've now done 12+ films with the same client who initially took a chance on me after that difficult period. --- ## Pregunta 3 **Pregunta:** How do you view the role of the neoclassical style and the presence of the piano in film score composition? Does this style influence your work or how you construct musical narratives? **Respuesta de Marc:** As a film composer, I've always found the neoclassical style and piano to be incredibly powerful storytelling tools in film music. The piano, in particular, occupies a special place in the scoring landscape because of its remarkable versatility and emotional range. When I approach a score, I view neoclassical elements as one of many colors in my palette. What makes this style particularly effective is how it connects with audiences on a fundamental level - there's something inherently familiar yet emotionally direct about piano-driven neoclassical writing that can instantly establish intimacy with viewers. In my own work, I often use piano as an anchor for emotional moments. The instrument has this unique ability to stand alone in its rawness or blend seamlessly with orchestral textures. For character-driven narratives, a simple piano motif can become the heart of a score, evolving throughout the film as the character develops. I've found that neoclassical approaches work particularly well in films that explore human relationships or internal emotional journeys. The style allows for a certain transparency - it doesn't overwhelm the visuals but rather enhances the emotional subtext. That said, I'm always conscious of avoiding clichés. The "sad piano score" has become somewhat ubiquitous, so when I incorporate these elements, I try to find fresh approaches or combine them with unexpected textures to create something that feels both familiar and surprising. What's fascinating about film composition today is how we can blend these traditional neoclassical approaches with modern production techniques, creating hybrid scores that honor classical traditions while pushing into new sonic territories. --- ## Pregunta 4 **Pregunta:** Given the complexity of composing for high-level cinematic productions, do you follow a specific routine to stimulate your creativity? What practices do you consider essential to balancing inspiration and productivity? **Respuesta de Marc:** When composing for high-level cinematic productions, I've developed specific routines that balance creativity with productivity - something essential in an industry with tight deadlines and high expectations. My creative process typically begins with what I call my "create time" - a 90-120 minute block in the early morning (usually 5-7am) when my mind is fresh and distractions are minimal. During this period, I focus on conceptual work - sketching themes, planning emotional arcs, or solving creative problems - rather than technical production. For me, creativity isn't about waiting for inspiration but creating the right conditions for it. Here are practices I consider essential: First, I maintain distinct physical spaces for different types of work. My creative space is intentionally separate from my "production space," which helps my brain transition between conceptual thinking and technical execution. Second, I incorporate strategic resets throughout my day. After years of composing, I've found that burnout is the enemy of both creativity and productivity. I schedule short breaks for physical activity - surfing, skating, or biking puts me in a flow state that often generates my best ideas. I also use sauna/cold plunge combinations to reset my stress levels between intense work sessions. Third, I use frameworks to overcome creative blocks. When I'm stuck, I analyze similar scenes from films with effective scores, identifying patterns in harmony, orchestration, and emotional progression. This analytical approach gives me a starting point when inspiration isn't immediately available. Finally, I've learned that having clear boundaries between creative exploration and production is crucial. I allocate specific time for experimentation, but once a concept is approved, I shift into craftsmanship mode to execute efficiently. The reality of film composition isn't constant inspiration - it's developing systems that allow creativity to flourish within practical constraints. This balance of structure and freedom is what makes consistent high-quality output possible. --- ## Pregunta 5 **Pregunta:** In addition to being a composer, you are also the cofounder of Cinematic Composing. How has this entrepreneurial experience influenced your musical career? What are your upcoming goals, both as a composer and as an educator and entrepreneur? **Respuesta de Marc:** # How Entrepreneurship Has Influenced My Composing Career My journey as both a composer and entrepreneur has created a fascinating symbiotic relationship between these two worlds. When Ali and I founded Cinematic Composing, I had no idea how profoundly it would transform my approach to film scoring. The most significant impact has been in my systematic thinking. Running a business forced me to analyze, optimize and document my creative processes in ways I never would have as "just a composer." I had to deconstruct my intuitive composing approaches to teach them effectively, which ironically made me more deliberate and efficient in my own scoring work. For example, I developed the "Three Musical Forces" framework to explain orchestration to students, but this same framework now helps me make faster decisions when I'm under tight deadlines for film projects. What started as a teaching tool became a powerful composition methodology. Time management was another massive shift. As an entrepreneur, I couldn't afford to spend endless hours tweaking a single cue - I needed to create systems that delivered professional results efficiently. This discipline translated directly to my composing, allowing me to complete five feature films last year while still running the business. Perhaps most importantly, entrepreneurship eliminated the feast-or-famine anxiety that plagues many composers. The financial stability from Cinematic Composing allows me to be selective with scoring projects, choosing work that genuinely excites me rather than taking everything out of necessity. ## Looking Forward My upcoming goals reflect this dual path. As a composer, I'm focusing on projects with stronger storytelling and emotional depth. While I enjoy the thrillers I've become known for, I'm actively seeking films that require more nuanced dramatic scoring. I'm also exploring opportunities to collaborate with directors earlier in their process, where I can influence the musical identity from pre-production. On the entrepreneurial side, we're expanding beyond just teaching composition techniques. We're developing new programs focused on the business and psychological aspects of a composing career - addressing the challenges that technical skill alone can't solve. The "Part-Time Composer" initiative is part of this evolution, helping talented musicians build sustainable careers without the all-or-nothing risk. The ultimate goal is creating a more integrated ecosystem where these worlds don't just coexist but actively strengthen each other. Every film I score becomes a case study for students, and every teaching breakthrough improves my own compositional approach. This dual identity initially happened by necessity, but it's become my competitive advantage in an industry where being exceptional at one thing is no longer enough. --- ## Pregunta 6 **Pregunta:** What message would you like to share with aspiring composers or musicians who dream of creating soundtracks and pursuing a career in the film industry? **Respuesta de Marc:** As someone who's walked this path, I want to share something important: the journey to becoming a film composer is both more challenging and more accessible than you might think. First, let me be straight with you - this industry demands persistence. When I moved to LA in 2016, I had no connections, limited funds, and faced countless rejections. I made hundreds of calls, worked on tiny projects, and went through periods where I questioned if I was good enough. These struggles aren't the exception; they're part of the process. What I've learned is that success in film composition comes down to three key elements: 1. Mastery of your craft - This is non-negotiable. You need to develop your compositional skills, understand storytelling through music, and master modern production techniques. The good news? Today's tools and resources make this more accessible than ever. 2. Building genuine relationships - My breakthrough came when a friend recommended me to a client who has since hired me for over a dozen films. This industry runs on relationships and trust. Focus on creating authentic connections rather than just "networking." 3. Resilience through self-belief - The biggest obstacle isn't external competition but internal doubt. When you don't believe in yourself, you unconsciously self-sabotage. I've seen incredibly talented composers fail because they couldn't overcome this. What's exciting is that there are multiple paths to success. You don't need to follow the traditional route or immediately go full-time. Start part-time, build your skills and portfolio while maintaining financial stability. Create music that genuinely moves people, and be patient with the process. Remember that every established composer once sat where you're sitting now, wondering if they could make it. The difference between those who succeed and those who don't often comes down to who stays in the game long enough to let their talent and hard work compound. ---