BBC Music Publishing was created to generate income for BBC programmes, injecting money into productions’ music budgets, which then pays for new scores.
Nicholas plays a key role in putting composers forward to TV producers, and liaises between the two on a diverse roster of programming from reality shows to documentaries and childrens' series.
Here he reveals the opportunities available to composers and gives us his top tips for getting ahead in this competitive business.
How does BBC Music Publishing work?
Acting as a commercial publisher, we reinvest the publisher’s share of revenue back into a TV production’s music budget. We mainly invest into BBC in-house productions but we also work closely with independent productions companies too.
Where does the money come from?
The money we invest is based on the publisher’s share of future revenues - transmissions, repeats, secondary exploitation (DVDs/downloads) - and the forecast international sales of that programme around the world. Basically, the aim is that if a production didn’t have the funds to commission bespoke music before, they can now have the opportunity to be able to do that. Either that, or we’ll be topping-up an existing music budget.
Nicholas plays a key role in putting composers forward to TV producers, and liaises between the two on a diverse roster of programming from reality shows to documentaries and childrens' series.
Here he reveals the opportunities available to composers and gives us his top tips for getting ahead in this competitive business.
How does BBC Music Publishing work?
Acting as a commercial publisher, we reinvest the publisher’s share of revenue back into a TV production’s music budget. We mainly invest into BBC in-house productions but we also work closely with independent productions companies too.
Where does the money come from?
The money we invest is based on the publisher’s share of future revenues - transmissions, repeats, secondary exploitation (DVDs/downloads) - and the forecast international sales of that programme around the world. Basically, the aim is that if a production didn’t have the funds to commission bespoke music before, they can now have the opportunity to be able to do that. Either that, or we’ll be topping-up an existing music budget.
What is your remit?
My remit is to provide investment by exploiting the music publishing rights.
When I moved from the BBC to BBC Worldwide four years ago I was keen to take composers out of their comfort zone and introduce them to producers they wouldn’t normally work with. It would be usual to see the same composers being used regularly in some genres. Also, I talk to composers regularly who feel they are typecast in a particular way and would like to ’shake-it-up’ by doing something different.
How do you put composers in touch with TV producers and music supervisors?
We don’t represent any composers and we remain impartial and fair when working with productions. I might send a producer a list of around 16 suitable composers, being mindful that I’m not putting the same composers forward to the same producers or genres. I’ll include links to their websites and showreels. I don’t usually put someone forward who doesn’t have a showreel or who hasn’t demonstrated the skill or perhaps experience necessary. I’ll then leave it to the producers how they wish to proceed as it’s an editorial decision. Essentially, I can show composers the door but I can’t give them the key – they need to find that themselves…
I often try to encourage pitches and often blind pitches – it makes it quite a fair process, and it’s then won on merit.
How does the briefing process work?
We’ll get some footage or rushes from the producers, or sometimes it’s just a paper brief, and then send it out to a few composers. If a producer doesn’t have anyone in mind and doesn’t want lists of suggestions either, we can coordinate a pitch with maybe two notable composers, two wildcards and two that haven’t had their break yet. It can and obviously does vary though.
I coordinated a pitch recently and sent over two very notable composers and two wildcards to a producer, and the producer selected one of the wildcards straight away. The wild card had really thought outside the box and won the pitch.
My remit is to provide investment by exploiting the music publishing rights.
When I moved from the BBC to BBC Worldwide four years ago I was keen to take composers out of their comfort zone and introduce them to producers they wouldn’t normally work with. It would be usual to see the same composers being used regularly in some genres. Also, I talk to composers regularly who feel they are typecast in a particular way and would like to ’shake-it-up’ by doing something different.
Ask yourself: have you got a decent website? Have you got a link to showreels that demonstrate your ability? These things are essential. You need to stand out from the rest.
How do you put composers in touch with TV producers and music supervisors?
We don’t represent any composers and we remain impartial and fair when working with productions. I might send a producer a list of around 16 suitable composers, being mindful that I’m not putting the same composers forward to the same producers or genres. I’ll include links to their websites and showreels. I don’t usually put someone forward who doesn’t have a showreel or who hasn’t demonstrated the skill or perhaps experience necessary. I’ll then leave it to the producers how they wish to proceed as it’s an editorial decision. Essentially, I can show composers the door but I can’t give them the key – they need to find that themselves…
I often try to encourage pitches and often blind pitches – it makes it quite a fair process, and it’s then won on merit.
How does the briefing process work?
We’ll get some footage or rushes from the producers, or sometimes it’s just a paper brief, and then send it out to a few composers. If a producer doesn’t have anyone in mind and doesn’t want lists of suggestions either, we can coordinate a pitch with maybe two notable composers, two wildcards and two that haven’t had their break yet. It can and obviously does vary though.
I coordinated a pitch recently and sent over two very notable composers and two wildcards to a producer, and the producer selected one of the wildcards straight away. The wild card had really thought outside the box and won the pitch.
What are some of the challenges in getting new composers heard?
Sometimes it’s very difficult for producers to leave their safety blanket, which is why you see the same composers cropping up over and over again. The producer knows the composer can and will deliver so a trusting relationship has been built up, so in that respect they’re safe. We’re certainly not here to break those relationships up – we’re here to provide funding and ultimately to support the BBC/public service.
What do you look for in a screen composer?
I always look for competence. The composer might’ve just graduated from a school or college, or they might be a session musician who’s changed their path – but either way, they need to have a demonstrable track record in terms of credits or showreel.
There is a real skill in dissecting and interpreting a brief. There are some composers who often end up in the shortlist because they understand the brief and know how to get what they need out of it. It’s really difficult. These composers are trained to score to picture, they’re not really taught to interpret producer notes from a bit of paper saying things like, ‘Make it sound orange!’ That is where the real skill can come from. The ability to listen and interpret briefs can get you far in TV. It’s all about what is required. You might’ve written what you think is the best cue of your life, but the producer may not agree. You have to accept that and try again.
Everyone wants to make a mark when they’re creating something, whether it’s the composer, the producer, the director – they’ve all got an artistic approach. So if you can bring something new and revolutionary to the table, it can offer an interesting risk for the producer to take. If it pays off, the producer will be patted on the back.
What are the biggest areas of opportunity for screen composers at the BBC?
In terms of free and flowing opportunities, it’s all about documentaries and factual. It’s also what I personally think the BBC makes the best. The BBC is consistently producing factual documentaries and BBC Worldwide is constantly supporting their production. About 70 percent of my time is taken up with factual programming. We often find the biggest money spinners are natural history and some dramas, but it really does depend upon the programme. Children’s programming has always been successful and there’s always a chance of a hit comedy.
Do you have any advice for upcoming screen composers?
Ask yourself: have you got a decent website? Have you got a link to showreels that demonstrate your ability? These things are essential. You need to stand out from the rest.
The first thing I do is visit someone’s website and click on the showreel section. It’s all very well to listen to a SoundCloud link but it has no bearing on the skill of creating music to picture.
You should go in with your biggest thing first, even if it’s just a trailer. You need to prove that you can hack it in a competitive environment. It’s really tough at the moment – tougher than I’ve ever known it mainly because of the number of composers out there and various options available to producers.
Don’t go into it lightly – don’t dabble. It’s feast or famine in this industry, so you shouldn’t take anything for granted.
Sometimes it’s very difficult for producers to leave their safety blanket, which is why you see the same composers cropping up over and over again. The producer knows the composer can and will deliver so a trusting relationship has been built up, so in that respect they’re safe. We’re certainly not here to break those relationships up – we’re here to provide funding and ultimately to support the BBC/public service.
Don’t go into it lightly – don’t dabble. It’s feast or famine in this industry, so you shouldn’t take anything for granted.
What do you look for in a screen composer?
I always look for competence. The composer might’ve just graduated from a school or college, or they might be a session musician who’s changed their path – but either way, they need to have a demonstrable track record in terms of credits or showreel.
There is a real skill in dissecting and interpreting a brief. There are some composers who often end up in the shortlist because they understand the brief and know how to get what they need out of it. It’s really difficult. These composers are trained to score to picture, they’re not really taught to interpret producer notes from a bit of paper saying things like, ‘Make it sound orange!’ That is where the real skill can come from. The ability to listen and interpret briefs can get you far in TV. It’s all about what is required. You might’ve written what you think is the best cue of your life, but the producer may not agree. You have to accept that and try again.
Everyone wants to make a mark when they’re creating something, whether it’s the composer, the producer, the director – they’ve all got an artistic approach. So if you can bring something new and revolutionary to the table, it can offer an interesting risk for the producer to take. If it pays off, the producer will be patted on the back.
You need to prove that you can hack it in a competitive environment.
What are the biggest areas of opportunity for screen composers at the BBC?
In terms of free and flowing opportunities, it’s all about documentaries and factual. It’s also what I personally think the BBC makes the best. The BBC is consistently producing factual documentaries and BBC Worldwide is constantly supporting their production. About 70 percent of my time is taken up with factual programming. We often find the biggest money spinners are natural history and some dramas, but it really does depend upon the programme. Children’s programming has always been successful and there’s always a chance of a hit comedy.
Do you have any advice for upcoming screen composers?
Ask yourself: have you got a decent website? Have you got a link to showreels that demonstrate your ability? These things are essential. You need to stand out from the rest.
The first thing I do is visit someone’s website and click on the showreel section. It’s all very well to listen to a SoundCloud link but it has no bearing on the skill of creating music to picture.
You should go in with your biggest thing first, even if it’s just a trailer. You need to prove that you can hack it in a competitive environment. It’s really tough at the moment – tougher than I’ve ever known it mainly because of the number of composers out there and various options available to producers.
Don’t go into it lightly – don’t dabble. It’s feast or famine in this industry, so you shouldn’t take anything for granted.
