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Interview with Film Composer Chris Kubie
Chris Kubie is a film composer whose music has
appeared on numerous telecasts including HBO specials, the Discovery Channel and the Learning Channel. Chris also
provides music for a number of independent film projects, and books on tape. In this interview we specifically
inquire about how he achieved his success in this field.
Tell us a little about your background. Where did you come from, musically speaking? What
music influenced you?
My mother tells me that at age 4 I would wear out records on my low fidelity record player and she would have to
replace them. By age 5, I was the "nerd" in the basement on the piano, beating it to death. My parents
listened to music often. I was always encouraged to appreciate different musical styles and genres. I have them
to thank for my diverse upbringing musically. I also enjoyed watching television and the music that I heard there.
I would try to "pick out" and replicate these melodies by ear on the piano. Formal piano lessons were
begun at age 6. I found it difficult to keep to the lesson plan. By that time, I was creating my own little pieces.
It was in 1956 that I composed my first official song...and I have no idea what I called it, but I'm sure it was
in the key of C.
I had formal piano lessons from 1956 until 1962, at which time music theory and composition were introduced to
me by Richard Oliver. I was 12 years old, and completely absorbed by what Dick Oliver had to teach me. I had also
decided that I was going to have music as a career at this tender age.
Fast forward to 1964, when I was a freshman in high school. I started playing in garage bands, but in retrospect,
I must say that these were no ordinary bands. It was a time of open mindedness and change in the country, and musically
there was a lot of experimentation taking place. I went through a string of standards....blues, R&B, rock and
roll, progressive, jazz and then started getting into musical production numbers. I remember performing in my beloved
pink tuxedo with purple satin lapels, backed up by 3 tall blondes in evening gowns! The band's name came naturally.....Kubie's
Dolls!
I remember the first time I heard Frank Zappa's music.... I believe it was "Freak Out". I would never
be the same after that. When "We're Only In It For The Money" was released, I knew I would be listening
to Zappa for years to come. I am a man of many differed tastes, however, and also enjoyed Stravinsky, Boulez, Bartok,
Stan Getz, Charlie Mingus, The Beatles, Aretha Franklin and sometimes even Rotary Connection. I found myself gravitating
towards music that was fully produced and orchestrated.....lush sounds...complex music....orchestral pieces.
I was fortunate to attend Horace Greeley High School in Chappaqua, NY, at a time when fine arts was considered
to be an integral part of a school curriculum. Luckily for me, because I wasn't interested in doing much of anything
that didn't involve music someway. Musical theater was undertaken at a very professional level here and I jumped
on the band wagon during my senior year there. My studies with Dick Oliver were ongoing through my high school
years and my knowledge of composition, arranging and orchestration were beginning to really develop.
After graduating high school, I became involved with musical direction at the Chappaqua Summer Theater. Here producer/director
Phil Stewart gave me my first proffesional job as musical director/conductor. We produced your standard fare of
musicals....but I managed to push the envelope just a bit by doing shows such as "The Persecution and Assassination
of Jean Paul Marat As Told By The Marquis de Sade (Marat Sade)". Chappaqua would remember me for years after
this one! It was during this time that I became friendly with my best friend Evan's father.....film composer, John
Morris. He became a mentor to me for years and always encouraged me on my writings....kept me going.
I was accepted into Mannes College of Music as a composition major. It was during this period that I had the opportunity
to study orchestration with Peter Pinder-Sterns and William Sydeman. In 1972, Bill Sydeman heard the second side
of "Abbey Road" for the first time. At this point he sold all of his possessions, except his synthesizer
and his Volkswagon Bus, and moved out into the desert, never to be heard from again. (True story). A lot of the
things I learned in college had absolutely nothing to do with making a living writing music for a living, although
it did help me hone my skills as an orchestrator. On the other hand, a lot of things that were learned during that
period had to be un-learned in later years. Academia and the commercial world of music are two entirely different
worlds. The value of knowledge and skills cannot be underestimated, however. In 1972, I completed my education
at Mannes. Now it was time to be "a composer"! Ha!
A string of jobs that always seemed to be music-related in one way or another (clinician for Bob Moog, retail instrument
sales, gigs, session work, record store manager, etc.) followed until about 1979 or 80.
You spent 10 years working at Chelsea Music in New York. You credit that time to teaching
you the ropes, more or less. Tell our readers a little bit about what Chelsea Music is and how you fit in. What
did you learn about the music biz during your time there that really made an impact?
In 1980, I was offered an apprenticeship to work under Evan Morris' guidance at Chelsea Music in NYC. Chelsea Music
was responsible for producing nearly all the scores for Broadway and New York film. It was at this amazing little
place that I was able to learn the process of musical production for Broadway and film. Our job was to prepare
the orchestra parts for the players. I was tutored in the art of musical notation and copying skills. As you know,
pit parts are very unique and carry with them their own special set of standards and style.
The beauty of this experience was being exposed to many great composers and orchestrators on a personal basis and
studying their methods firsthand by extracting parts for copying from the score. There were no textbooks that ever
came close to this experience and I drank it in. I also learned that this community (orchestrators & composers)
was a small one and sort of a family. Each individual had a little different spin on executing their work, but
all seemed to like and respect each other. This is where I really learned the Golden Rule of Never Burn Bridges.
I learned how little I really knew. I took advantage of every learning opportunity I was presented with and became
a virtual sponge.
In 1986 you went completely independent and began composing for film and TV full-time.
How did you manage to get the attention of the studios? How did they find out about your music?
The reality of working for Chelsea, unfortunately, was that you were either rolling in the money, or out of work
for long periods of time in between shows. I had a wife and young daughter, and a second child on the way. I had
a mentor (John Morris) who was telling me that I had the talent and that I should "go for it".
My wife, Lisette, is a tenacious woman and my strongest advocate. She also has nerve. My very first job scoring
a film was the result of her cold calling a local independent production company, Hudson River Film & Video.
She acted as my agent, got a demo tape into their hands, and had a signed contract for 2 documentaries in her hand
3 weeks later. She had studied the contracts in Bill Krasilovsky's book "This Business of Music" and
had taught herself some basic contractual terminology. I scored these films using only a Korg M-1 and the music
was flown in wild. I did not possess time code or lockup at that time. To this day, I am amazed at how well it
holds up. There are many "hits" and the fact that it was done "manually" frightens me.
After completing these films, they provided me with a more formal calling card. I no longer had to rely on a cassette
tape demo....I now could send clips of my music set to film. It was easier to let potential clients see how I had
a feel for enhancing images and sustaining moods. Several more documentaries followed....as well as several new
clients, including some who produced for cable television shows. Referrals also played a key role in landing me
new jobs. Lisette continued to network on my behalf and broaden her negotiating (and typing) skills.
One key piece of advice I would give your readers is that the relationship that is created between you (the composer)
and the director is important....but your relationship with the editor is also one to be nurtured, respected and
developed. The editor can be your best friend or your worst nightmare...take it from one who knows.
Was film scoring something you always wanted to do, or was it something you more or less
stumbled into?
Film scoring was always something I wanted to do, but never thought I would be able to. Making inroads seemed impossible.
And today, in some ways, it is more difficult. The competition is brutal. There are many talented people out there
following this dream. It all comes back to your connections in the industry and how you are known in this relatively
small community of people who are actually making a living from it.
Tell us about how your process works. Do you get unscored film and then do your thing,
or are you involved in the program conception from the get-go?
Different clients work different ways. In some cases, I receive a fully edited, unscored piece of film/video. The
other side of the coin often means that the director and editor cut to my music with their film. There is much
diversity in how this process unfolds. The relationship I have with the director and editor are integral to this
process.
In most cases, I receive an edited piece with temp tracks and time code in place. I sit down and spot the film
with the director. We discuss what s/he is trying to portray...the feel of the piece. After getting some basic
ideas of where they want to go, I begin the process of creating the music.
At the point you are now, do you feel you still have to continually market yourself?
Or, do the producers say "Let's get Chris" and come knocking at your door?
I am certainly nowhere near the point where I can become complacent about building my client base. The Internet
is an amazing tool in that it can be used to reach out and promote oneself without the embarrassment of "beating
your own drum" in a face-to-face meeting. I find promoting myself very difficult. I am not a good businessman.
I am a good composer and an artisan. Places like Midnight Rain are wonderful for disseminating information. Am
I marketing myself here? I sure am!
I do have clients who say "Let's get Chris" and even some that are gracious enough to refer me to new
clients. One of my favorite quotes comes from "Life's Little Instruction Book" and reads "Learn
to Listen. Opportunity sometimes knocks very softly". Lisette is always promoting me...whether at a cocktail
party or a premiere. When you are self-employed, you must always self-promote. The two go hand in hand.
What are some of the ways that you employ to keep your name fresh in the minds of
potential clients?
Visit my website at http://www.ckubie.com. (Laughing) I have it printed on my business cards. I am shameless.
A number of visitors dream of writing for film and television. Is it possible to get
into the film industry without inside connections? Where would a musician begin if he or she wanted to pursue film
scoring? Are there one or two particular agencies in this field that you can recommend? If so, are they open to
listening to new music, or are the pretty much booked solid?
Without the skills, the education, the school of hard knocks, and connections, I would have to say that it is virtually
impossible to get into film scoring. I would suggest beginning with a thorough college education and then, perhaps,
contacting a young director who is just starting out doing college films. A lot of people have started this way....both
directors and composers doing work for no money, but for experience and art's sake. Both ASCAP and BMI offer some
seminars for aspiring composers. I would suggest your readers look into those opportunities as well. As I have
a wife for an agent, I'm afraid I can't answer your entire question.
What advice would you like to pass on to musicians who have been struggling for years
in the "trenches"? Are there any one or two key items you can pin down as being crucial to your success?
Never stop learning. Get the best musical education you can. Never burn bridges. Avail yourself of every opportunity
you can....even if there's no money involved at first. Develop relationships with those people who also want to
work in the industry...whether they be aspiring editors, directors, producers, crew members or actors. Learn how
to communicate. Be tenacious. Be patient. Be ready to be middle aged before you reap what you've sewn.
Midnight Rain Productions would like to thank Chris for taking the time to talk to us. You
can find out more about Chris and his music at his web site.
