# Respuestas de Marc Jovani **Fecha:** 2025-03-01 04:58:30 **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:** I'm Marc Jovani, a film composer, entrepreneur, and online educator. My journey began in a small coastal town in Spain called Peñíscola, where my uncle Paco gave me my first guitar lessons in the summer of 1994. While I initially struggled with traditional instruments (my piano teacher can attest to this!), I found myself constantly writing small musical pieces instead of practicing. My path wasn't straightforward - I was rejected twice from the Conservatory of Castellón before finally being accepted as an auditing student. Under Maestro Ferrer Ferran, I faced harsh criticism of my early compositions but used that as motivation. I went from being the worst student in class to graduating with honors, eventually earning acceptance to USC's prestigious Screen Scoring program. The real turning point came in 2016 when my wife Ali and I moved to Los Angeles with just $10,000 and three suitcases. Those early days were challenging - building desks from bricks, driving a $3,000 car with 100,000 miles, and making 100 cold calls daily trying to find work. After a small $700 project, I experienced three years without significant work, questioning if I was good enough. Everything changed when a friend recommended me to a client who became a long-term collaborator. Since then, I've composed for over 30 films released on platforms like Netflix, Amazon Prime, and Syfy. Last year alone, I completed five feature films, and my music has been recorded at prestigious venues like the Warner Bros. scoring stage. Alongside my composing career, I founded Cinematic Composing, which has grown to over 16,000 students worldwide. I've developed frameworks like the "three musical forces" concept that transformed my approach to composition and now helps others accelerate their learning journey. What I've learned is that success in this industry isn't just about talent - it's about persistence, confidence, and constantly evolving your craft. The journey from being that struggling student to conducting orchestras for Hollywood films has taught me that your greatest limitations are often the ones you place on yourself. --- ## 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 weren't what most people might expect. When I first moved to LA in 2016 with my wife Ali, we had almost nothing - just a few thousand dollars after legal fees and plane tickets. I built my first desk out of bricks because we couldn't afford furniture. The financial pressure was immense, especially when projects got delayed and I went nearly three years without a major film. But the greatest challenge wasn't external - it was internal. Self-doubt became my biggest obstacle. After losing a main client following a project where I compromised quality to meet deadlines, I started questioning if I was good enough for Hollywood. This impostor syndrome was paralyzing. I overcame this through several approaches. First, I focused on mastering my craft rather than seeking validation. I developed systems and templates that allowed me to work efficiently while maintaining quality. I could produce 2-3 minutes of finished music daily when needed. Second, I rebuilt my confidence through smaller projects where I could succeed. Each small win accumulated until I regained my belief in myself. The turning point came when a friend recommended me to a client who became a long-term collaborator - we've now done 12+ films together. Third, I learned to separate my identity from individual projects. Not every score will be perfect, and that's okay. What matters is consistently delivering value while continuing to grow. The biggest lesson was realizing that technical skill wasn't what was holding me back - it was my mindset. Once I addressed that, everything else became manageable. Today, I approach each project with confidence, knowing I have both the skills and resilience to handle whatever challenges arise. --- ## 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 found that the neoclassical style and piano have become incredibly important tools in modern scoring, though I approach them quite differently depending on the project. The neoclassical approach offers something uniquely powerful - it connects audiences to familiar musical language while allowing for contemporary expression. When I'm scoring emotional scenes especially, that combination of classical sensibilities with modern production techniques creates an immediate emotional shorthand that audiences understand instinctively. The piano specifically has become almost ubiquitous in film music for good reason. It can function as both a solo voice carrying the entire emotional weight of a scene or as textural support within a larger orchestral palette. I often use piano as an anchoring element - something that grounds the score emotionally while strings, brass and other elements provide movement and tension. In my own work, I tend to use neoclassical elements selectively rather than as a default approach. When scoring thrillers (which I've done quite a few for Lifetime and other networks), I find that blending neoclassical piano motifs with more contemporary elements creates that perfect tension between familiarity and unease. The piano gives the audience something to connect with emotionally while other elements can destabilize that comfort. What's fascinating about film composition today is how we can move fluidly between these different musical worlds. In a single cue, I might start with a neoclassical piano figure that evolves into something more textural and modern as the scene develops. This flexibility allows the music to serve the storytelling rather than being constrained by stylistic boundaries. The key is always serving the narrative first - sometimes that means embracing neoclassical elements, and sometimes it means deliberately avoiding them to create something less expected. --- ## 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 over the years that help balance creativity with productivity. This balance is crucial because film scoring combines both artistic expression and professional delivery. My creative process typically starts with what I call my "creation time" - usually from 5:00-7:00 AM. I deliberately work in a different space than my main studio during these hours, often with just a notepad or my remarkable tablet rather than sitting at my DAW. This separation helps me think conceptually about the project without getting lost in technical details. For inspiration, I find that physical activity is essential. I schedule regular surfing, skating, or biking sessions during the week - not just for enjoyment but because these flow-state activities spark new musical ideas. The cognitive shift that happens during physical movement often solves creative problems I've been stuck on. Another practice I consider non-negotiable is the intentional management of energy. Film scoring requires sustained creative output over weeks or months, so I incorporate what I call "reset" periods - using sauna sessions, cold plunges, or meditation to shift from stressed/engaged states to more relaxed and creative mindsets. Structure is also vital. Before diving into composition, I create mini intensity maps for scenes - simple MIDI regions that visually represent the emotional arc. This gives me a roadmap before writing a single note. I've found this preliminary planning prevents creative blocks later in the process. When working with directors, I focus first on creating concept suites rather than scoring individual scenes. These musical palettes establish the emotional language of the film and, once approved, become building blocks for the entire score. The most important practice, though, is maintaining a clear separation between the creative and technical aspects of composition. My templates handle much of the mixing and technical work automatically, allowing me to focus purely on musical ideas during the creative phase. This structured approach might seem counterintuitive for creativity, but I've found that establishing these frameworks actually creates more freedom for inspiration to flourish within professional constraints. --- ## 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 The relationship between my composing and entrepreneurial paths has been fascinating - each has strengthened the other in ways I never anticipated when starting Cinematic Composing. Running a business has dramatically improved my efficiency as a composer. When you're juggling multiple films plus an education company, you quickly learn to eliminate wasted time and develop systems that maximize creative output. I've become much more decisive with musical choices because I've had to develop that muscle in business decisions daily. The entrepreneurial mindset has also made me a better collaborator with directors. I understand now that film music is ultimately about serving a vision and solving problems - very similar to how a business serves customers and solves their problems. This perspective shift has made me less precious about my musical ideas and more focused on what truly serves the story. Perhaps most importantly, teaching thousands of composers has forced me to clarify and systematize my own composing approach. When you have to explain your process to others, you discover your blind spots and refine your methods. Many techniques I now use in my Hollywood scoring were actually developed while creating frameworks for my students. As for upcoming goals - as a composer, I'm focusing on projects with stronger emotional impact. After completing five films last year, I'm being more selective this year, choosing stories that truly resonate with me personally. For Cinematic Composing, we're developing more comprehensive resources for composers who want to build sustainable careers without sacrificing their artistic vision or personal lives. The "part-time composer" model we've been teaching has helped many students find balance, and we're expanding those frameworks. The entrepreneurial journey has taught me that success isn't just about musical ability - it's about creating systems that support consistent excellence while maintaining your passion and avoiding burnout. --- ## 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 for many years now, I want to share something important: your journey as a film composer is absolutely possible, but it requires both passion and practicality. First, understand that composition is a lifelong journey. The composers you admire didn't become masters overnight. I remember being rejected twice from the conservatory before finally being accepted. Even after that, I had a teacher tell me my first composition should be "torn to pieces and thrown away." But persistence matters more than initial talent. The film industry specifically requires a unique blend of artistic vision and practical execution. You need to develop not just your compositional skills, but also your ability to tell stories through music, to collaborate with directors, and to deliver under tight deadlines. What separates successful composers isn't just musical brilliance—it's their ability to serve the story. When I work on films, I'm constantly asking: "What does this scene need emotionally? How can my music elevate this moment?" The director doesn't speak in musical terms—they speak in emotions. Your job is to translate those emotions into sound. Don't fall into the trap of thinking you need perfect conditions to start. When Ali and I moved to LA in 2016, we had almost nothing. I built my first desk with bricks because we couldn't afford furniture. The important thing was that I kept composing, kept learning, and kept connecting with people. Speaking of connections—they matter enormously. One of my biggest breakthroughs came when a friend recommended me to a client who has since hired me for 12 more films. Be generous with your time and talents; the relationships you build today might lead to opportunities tomorrow. Finally, remember that your unique voice matters. The industry doesn't need another John Williams or Hans Zimmer—it needs you and your distinct musical perspective. Develop that voice through constant practice, analysis of films you love, and creating music that resonates with you personally. The path isn't easy, but it's absolutely worth it. There's nothing quite like hearing your music bring a film to life, serving the story in a way only music can. ---