# Respuestas de Marc Jovani **Fecha:** 2025-03-05 10:55:36 **Modelo:** claude-3-7-sonnet-20250219 **Temperature:** 1.0 --- ## 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 began my musical journey in a small coastal town in Spain called Peñíscola, where my uncle Paco gave me my first guitar lessons in the summer of 1994. Like many composers, my path wasn't straightforward. I struggled initially - even getting rejected twice from the Conservatory of Castellón before finally being accepted as an auditing student under Maestro Ferrer Ferran. My first composition was harshly criticized - my teacher told me to "tear it to pieces and throw it away" because "no one would ever perform this music." I went home and cried with my dad. Despite this discouragement, I persisted, eventually graduating with honors from the conservatory. My film scoring journey really began at USC's Screen Scoring program, where I had the opportunity to observe composers like John Powell at work. In 2016, my wife Ali and I moved to Los Angeles with about $10,000 and almost nothing else - no connections, no family support, no credit score. We built a desk from bricks because we couldn't afford furniture! Those early years were challenging. I made hundreds of cold calls to directors and producers from IMDbPro listings with little success. I found a small project for $700, but after quality issues, I lost my main client and went three years without a major project. During this time, self-doubt crept in - I questioned whether I was good enough for Hollywood. The turning point came when a friend recommended me to a client who ended up hiring me. That relationship flourished into a long-term collaboration - I've now scored 12+ films for them. Since then, my music has been featured on platforms like Netflix and Amazon Prime, and I've recorded at the Warner Bros. scoring stage. Last year alone, I completed five feature films, while also running Cinematic Composing, an educational platform with over 16,000 students worldwide. What began as a struggle has evolved into a career I'm deeply grateful for - composing meaningful music that serves storytelling and helping other composers achieve their dreams. --- ## 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, I've encountered some substantial challenges throughout my career. Looking back, these obstacles ultimately helped shape my approach to composition and my professional identity. The first major obstacle was breaking into Hollywood as an outsider. When Ali and I moved to LA in 2016, we came with limited funds and no industry connections. I made hundreds of cold calls from IMDbPro listings with minimal success. My breakthrough came when a friend unexpectedly recommended me to his client, which led to a long-term relationship that's produced over 12 films. This taught me that while talent matters, relationships are the true currency of Hollywood. Another significant challenge was adapting to extreme time constraints. On one project, I had to compose 60 minutes of orchestral music in just three weeks - nearly 2.5 minutes of finished music daily. This forced me to develop systematic approaches to composition and efficient templates that could deliver studio-quality sound under pressure. I learned that sometimes delivering on time trumps perfection, especially when building your reputation. The most difficult obstacle, however, was the psychological battle after losing my main client early in my career. For nearly three years, I couldn't secure another major project, leading to serious self-doubt. During this period, I had to confront whether I truly belonged in this industry. I overcame this by focusing on what I could control - improving my skills, analyzing successful scores, and developing frameworks that enhanced my compositional approach. What I've learned is that success in film composition isn't just about musical talent. It's about developing resilience, learning to work efficiently under pressure, and maintaining confidence even when external validation is scarce. These challenges forced me to evolve from a musician who composed into a professional composer with systems that consistently deliver regardless of circumstance. --- ## 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:** I've always viewed neoclassical elements in film scoring as incredibly powerful narrative tools. The piano specifically holds a unique position in the emotional palette of film music - it can create both intimacy and grandeur depending on how you utilize it. In my compositional approach, I often find myself drawn to neoclassical sensibilities, particularly when I need to establish an emotional connection with the audience. The piano functions as this wonderful bridge between the orchestral world and something more personal. It cuts through the sonic landscape in a way other instruments simply can't. For thriller films, which I've scored quite a few for networks like Lifetime and Syfy, I'll often use minimalist piano patterns against string textures to create tension. The neoclassical approach allows me to maintain sophistication while still serving the storytelling needs. When constructing musical narratives, I find the piano particularly effective for character themes. Its versatility allows it to evolve alongside the character's journey - perhaps starting with simple, delicate motifs that gradually develop into more complex harmonic structures as the story progresses. What I value most about neoclassical influences is how they connect with audiences on an immediate emotional level while still maintaining artistic integrity. It's a style that directors respond well to because it feels both fresh and familiar simultaneously. That said, I never limit myself to one approach. The story always dictates the style, and sometimes the most effective score might need to move away from neoclassical elements entirely. The key is serving the narrative first, regardless of personal stylistic preferences. --- ## 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 don't wait for inspiration to strike – I follow a deliberate routine that balances creative exploration with productive execution. My creativity routine starts early. I wake around 5 AM and dedicate those first 90-120 minutes to what I call "create time" – pure creative thinking before email or other distractions. This is when I sketch concepts, develop themes, or solve structural challenges for scenes. I deliberately separate this conceptual work from the technical execution that comes later. I've found several practices essential for this balance: First, I use different physical spaces for different types of work. My initial creative sessions happen away from my studio in a simple setting with just paper or my remarkable tablet – no DAW, no screens. This spatial separation helps my brain shift modes. Second, I strategically schedule recovery periods. After intense creative or technical work, I'll take a physical break – often through cold plunge therapy, sauna, or outdoor activities like surfing or mountain biking. These aren't luxuries but necessities that reset my creative energy and prevent burnout. Third, I approach different project phases with appropriate mindsets. The initial conceptual phase and the first few cues demand intense creativity, while subsequent cues require more craftsmanship than inspiration. Understanding this difference helps me allocate energy efficiently across a project's lifecycle. The most counterintuitive yet effective practice I've discovered is using constraints. When scoring a difficult scene, I'll sometimes deliberately limit my palette to three instruments or one technique. These boundaries paradoxically expand creativity by forcing novel solutions. For maintaining sustained output on tight deadlines (like 60 minutes of music in three weeks), I rely on templates and frameworks I've developed over years. My template isn't just about efficiency – it embodies my creative voice while handling technical aspects so I can focus purely on composition. This structured approach might seem contradictory to the romantic notion of the inspired artist, but in professional film composition, the balance of inspiration and productivity isn't optional – it's the foundation of delivering consistently excellent work. --- ## 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 Shaped My Composition Career Being both a composer and cofounder of Cinematic Composing has created a fascinating synergy between my creative and business pursuits. When I started Cinematic Composing with my wife Ali, I never anticipated how profoundly it would transform my approach to film scoring. The entrepreneurial journey has given me three critical advantages as a composer: First, it's provided financial stability. Instead of desperately chasing every possible composing gig, I can be selective and focus on projects that truly inspire me. Last year I scored five films, and this year I've been more intentional, focusing on just one project while developing Cinematic Composing. Second, systematizing our business has revolutionized my composition workflow. When you teach thousands of students, you're forced to codify your creative process. This has made me significantly more efficient - I can now produce high-quality music in less time because I've broken down my approach into frameworks and systems. Third, building a community of composers has kept me consistently inspired. Our students challenge me with fresh perspectives and approaches I might never have considered. Teaching has made me a better composer by forcing me to question and refine my methods continually. As for my future goals, I'm working on several exciting initiatives: As a composer, I'm developing deeper relationships with a select group of directors and producers who value music's storytelling power. I'm also exploring opportunities in the interactive media space, as I believe game scoring represents an exciting frontier. For Cinematic Composing, we're developing new frameworks that bridge the gap between composition theory and practical application. We're also expanding our "Part-Time Composer" program to help more musicians build sustainable careers without abandoning financial security. The greatest lesson I've learned is that entrepreneurship and artistic creation aren't opposing forces - they're complementary paths that, when harmonized properly, create a more sustainable and fulfilling career. --- ## 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:** When I think about those starting out in film composition, I remember my own journey - that feeling of uncertainty when I first moved to LA with nothing but a computer, $10,000, and a dream. Here's what I've learned: Your path to creating film music doesn't need to be all-or-nothing. Part-time composing is a completely viable approach while maintaining financial stability. Many successful composers I know started this way. The most crucial elements are clarity and persistence. First, establish a clear vision - know exactly what type of composer you want to become and what projects excite you. This clarity will filter out distractions and help you say "no" to opportunities that don't serve your path. When facing self-doubt (and you will), remember that these feelings aren't reflections of your ability but protection mechanisms from your brain. Use fear as your compass - when something scares you, that's often precisely where you should go. Technical skills matter, but they're not everything. Directors don't speak in musical terms; they speak emotions. Learning to translate emotional language into music is far more valuable than perfect orchestration or production techniques. Most importantly, build genuine relationships. My breakthrough didn't come from cold calls (I made hundreds with no success) but from a friend who believed in me enough to recommend my work. Treat every interaction as an opportunity to connect authentically rather than just "networking." Remember that success isn't linear. I went three years without a major project after losing my main client. During that time, I questioned everything. But I kept creating, kept learning, and eventually found my way back. The industry has space for your unique voice. Focus on developing that voice rather than trying to sound like everyone else. Your distinctiveness will ultimately be your greatest asset. ---