With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.
Sentiment: NEGATIVE
A lot of the music editing job is communication and working out what a director really wants the music to be.
In business, you can have one massive success that earns $50 million overnight, and that's it. You're successful. End of story. But in the music business, you have to keep on doing it.
When you're working on film music, you're only working on 20, 30-minute sections at a time.
I don't take off as many days as most other producers and songwriters, so I'm working every single day, and I do songs every day. So it's just about finding time, scheduling, getting in and cutting the records. I make it happen and that's the name of the game. It's no excuses - you gotta figure it out.
The music business doesn't take up that much of my time. I probably should put a little more energy into it.
As a producer, you're pretty much creating a body of work that an artist has to stand behind.
Being my own boss and working inside an industry that's not really an industry, I need to keep busy and keep working. The only way to make money in music - unless you're managing someone - is to tour, and even that depends on where you are at.
If I make a song, and it's my song, like 'Lean On,' we're going to make money off the synchs, the Spotify, and we get to headline festivals on it. That's the model I want to explore.
When you work on an album for three and a half years, you're kind of ready for it to get out there. To have your songs reach people.
I don't think music is my job - I don't think about it that way, because I don't really get paid. There's no paycheck at the end; it's more of a 'whatever is left over' kind of situation.