# Respuestas de Marc Jovani **Fecha:** 2025-03-05 10:55:39 **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:** # My Journey from Spain to Hollywood I'm Marc Jovani - film composer, entrepreneur, and founder of Cinematic Composing. My musical journey began in the summer of 1994 in a small coastal town in Spain called Peñíscola, when my uncle Paco first taught me guitar. Those initial lessons sparked something in me, but my path wasn't always smooth. When I tried piano, I struggled tremendously. Instead of practicing assigned pieces, I'd procrastinate by writing my own little compositions. My piano teacher eventually suggested I might be better suited for composition rather than performance - a pivotal moment of recognition. The conservatory years were challenging - I was rejected twice before being accepted as an auditing student. My first composition was harshly criticized by my teacher Maestro Ferrer Ferran, who told me to "tear it up and throw it away." I cried with my father afterward, but instead of quitting, I used that criticism as fuel. I went from being the worst student in class to graduating with honors. After studying at a sound engineering school and being accepted to both Berklee and USC, I got my first professional break scoring "Christmas Twister" (originally called "F6 Twister"). This led to several more projects, but then disaster struck - I lost my main client and went three years without any significant film work. In 2016, my wife Ali and I took a massive leap of faith, moving to Los Angeles with just $10,000 to our name. We built our first desk out of bricks because we couldn't afford furniture, and I made hundreds of cold calls looking for work. Through persistence and a key recommendation from a friend, I finally landed a project that turned into a long-term relationship - I've now scored over 12 films for that same client. Last year alone, I completed five feature films, and my music has been featured on platforms like Netflix and Amazon Prime. I've recorded at the Warner Bros. scoring stage and worked with top industry professionals. Alongside my composing career, I've built Cinematic Composing into an educational platform with over 16,000 students. The journey has been far from straightforward, but the most important lessons weren't about music theory or production techniques - they were about believing in myself and persisting through rejection and self-doubt. --- ## 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:** The question is in English. I will respond in English as Marc Jovani. Having worked with major platforms like Netflix and studios like Lionsgate and FOX, I can tell you the path hasn't been straightforward. The biggest obstacles I've faced weren't what most composers might expect. The first major challenge was actually getting my foot in the door. When I moved to LA in 2016 with my wife Ali, we had nothing - just three suitcases and about $10,000 after legal fees and plane tickets. I remember building a desk from bricks because we couldn't afford real furniture. I was making 100 calls daily to producers and directors from IMDbPro lists, but nothing was working. I went through a three-year period without landing any significant projects after losing my main client, which was devastating both financially and emotionally. What turned things around wasn't some magical connection or breakthrough technique - it was a friend who sent my music to his client when I wasn't expecting it. That led to one project, which turned into twelve more films with the same client. The lesson was that persistence matters more than talent in this industry. The second major obstacle was delivering high-quality work under extreme time constraints. On one project, I had to compose 60 minutes of music in just three weeks - that's over 2.5 minutes of finished music daily. When you're working with big studios, they don't care about your challenges; they just need results. I had to develop systems and templates that would allow me to work efficiently without sacrificing quality. Third was overcoming impostor syndrome. Even after scoring multiple films, there were moments when I questioned if I belonged in the same industry as composers I admired. What helped me overcome this wasn't winning awards but building confidence through consistent execution. Each completed project proved I could deliver what directors needed. The most important lesson I've learned is that technical skills are only part of the equation. The ability to understand a director's vision, translate emotions into music, and deliver consistently under pressure are equally crucial. I've built my career not just on musical ability but on reliability and problem-solving. --- ## 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:** The role of neoclassical style and piano in film scoring is something I've thought about extensively throughout my career. Neoclassical approaches have become increasingly prominent in contemporary scoring, particularly in intimate dramas and certain indie films. What's fascinating is how this style creates immediate emotional connection through its accessibility while still allowing for sophisticated musical development. The piano specifically works brilliantly in film for several reasons. First, it's incredibly versatile - capable of both delicate intimacy and powerful intensity. Second, it has this unique ability to feel both personal and universal simultaneously. When I'm composing, I often start sketches at the piano precisely because it allows me to distill the core emotional essence of a scene. In my own work, I've found that neoclassical elements serve as excellent foundational material that can then be expanded orchestrally. For example, in several thriller projects I've scored, I established the emotional core with piano-based neoclassical themes, then gradually transformed and expanded those ideas as the narrative intensified. What's particularly effective about this approach is how it creates musical continuity while allowing for dramatic development. A theme introduced simply on piano in the opening can return transformed through different orchestrations as the story progresses. The neoclassical aesthetic also tends to emphasize clarity and emotional directness - qualities that serve storytelling extremely well. When scoring for screen, communicating emotional intent clearly is paramount, and this style excels at that without sacrificing sophistication. That said, I'm always conscious about avoiding clichés. The piano-driven emotional score has become somewhat ubiquitous, so I'm constantly looking for ways to incorporate these elements while bringing something fresh to each project. --- ## 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 it comes to composing for high-level cinematic productions, I've developed several practices over the years that help me balance creativity with productivity—something absolutely essential in this field. I find that my most creative work happens in the early morning hours. I typically wake up around 4:30-5:00 AM and dedicate those first 90-120 minutes to pure creation time. This isn't sitting at the DAW working on implementation—it's conceptual work, sketching themes, thinking about structure, and developing the emotional foundation of the score. I deliberately keep this time free from screens and technology, often using just manuscript paper or my Remarkable tablet. What's critical here is the space I create. I have different physical locations for different types of work—a specific area for creative conceptualization, separate from my main studio where I handle the more technical implementation. This physical separation creates a mental shift that's incredibly valuable. For maintaining creativity during lengthy projects, I've found that recovery time is non-negotiable. Regular "reset" periods are essential—whether that's exercise (I surf, skate, or bike for 2-6 hours weekly), cold plunges, or occasional saunas. These aren't luxuries—they're productivity tools. After a 60-minute reset, the quality of work I produce is exponentially better than if I'd just pushed through. When I'm feeling stuck, I don't force it. Instead, I analyze reference tracks or scores that evoke similar emotions to what I'm trying to achieve. I look for patterns and commonalities in harmony, orchestration, tempo, and texture. This analytical approach often reignites creativity. For productivity, having a well-developed template is vital. Mine has evolved over 15 years and essentially functions as an extension of my compositional voice. It saves tremendous time and allows me to focus on creativity rather than technical implementation. Lastly, I've learned to avoid comparing my initial sketches with finished, polished scores by other composers. That's a creativity killer. Instead, I focus on creating "suites" early in the process—longer musical explorations of themes and emotions—before breaking them down into individual cues. These practices have enabled me to maintain both quality and productivity even when facing tight deadlines like delivering 60 minutes of music in three weeks. --- ## 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:** Being both a composer and entrepreneur has created a fascinating synergy in my career. When I started Cinematic Composing with Ali, I had no idea how profoundly one path would enhance the other. Running Cinematic Composing has actually made me a better composer. Teaching forces me to analyze and articulate what works in film music - to break down complex concepts into frameworks that students can understand. This process has sharpened my own compositional thinking tremendously. When I'm scoring a film now, I have much greater clarity about why certain musical choices work better than others. The business side has also given me tremendous freedom as a composer. I can be selective about the projects I take on, focusing on films that genuinely excite me rather than taking everything that comes along. Last year I scored five films, but this year I've been more selective, focusing on just a couple of projects that really speak to me. Looking ahead, I have several goals I'm excited about. As a composer, I'm aiming to work on larger-scale projects with more substantial budgets and creative scope. I'm particularly drawn to dramatic films where music can play a truly pivotal role in the storytelling. For Cinematic Composing, we're expanding our programs to address the entire career path. We've mastered teaching composition skills, but now we're focusing more on helping composers build sustainable careers. We're developing frameworks that make the business side of composing more accessible and less intimidating. The entrepreneurial mindset has taught me to think bigger in both areas of my career. I now understand that the limitation isn't talent or opportunity - it's often our own thinking. My ultimate goal is to continue building both sides of my career in a way that maintains quality and impact without sacrificing personal wellbeing or family time. --- ## 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:** From my years composing for film, there's something crucial I want to share with you aspiring composers: this journey is absolutely possible, but it requires both artistic development and strategic thinking. First, understand that your compositional voice matters. The industry doesn't need another Hans Zimmer or John Williams - it needs YOUR unique perspective. The composers who stand out aren't just technically skilled; they bring something personal to their music. That said, be pragmatic about the realities of this career. Film composing is a collaborative art form where your job is ultimately to serve the story. Your most brilliant musical idea might end up on the cutting room floor because it doesn't support the narrative - and that's okay. Technical skill is non-negotiable. Invest time mastering both compositional techniques and production value. Many talented composers struggle because their demos sound amateur compared to professionally produced tracks. In today's market, production quality often matters as much as musical content. Start building connections early. The composers who succeed aren't necessarily the most talented - they're often the ones who understand the importance of relationships. Most of my significant projects came through personal connections, not cold submissions. Begin with projects at your level. The path typically runs through student films, indie shorts, and low-budget features before reaching bigger productions. Each project, no matter how small, builds your portfolio and network. Finally, develop persistence and emotional resilience. You'll face rejection often, and occasionally brutal criticism. What separates successful composers from those who give up is simply the willingness to keep going, keep learning, and keep creating despite the setbacks. Remember that with consistent work, strategic thinking, and authentic creativity, building a career scoring films is absolutely achievable - not just a distant dream. ---