Regularly employed as a composer, orchestrator, musician, engraver and copyist, Jeremy Borum has carved out a distinct niche for himself in the music world. Author of Guerrilla Film Scoring, Jeremy is the rare musician that can put creative musical ideas onto a page and also describe the methodology behind such. In turn, Guerrilla Film Scoring has been publicly-endorsed by professional from a variety of fine institutions including Juilliard, UCLA, the Berklee College Of Music, the Manhattan School Of Music, and the Musicians Institute.
Jeremy’s work will be presented locally on Jan. 16 at Dixon Place (161 Chrystie St.) as the American Modern Ensemble performs The Cask Of Amontillado within the evening’s Opera Double. For Cask, Jeremy worked with Stewart Copeland – the drummer of The Police who’s since become a top composer within the television, film and classical worlds – helping to re-orchestrate the original work. It is not Jeremy’s first collaborate with Stewart, as also helped him orchestrate Ben-Hur and Stewart’s upcoming world premiere three-movement symphony, which the Pittsburgh Symphony will premiere on Feb. 21.
In advance of the event at Dixon Place, I had the pleasure of conducting some Q&A with Jeremy about the various facets of his career. One particular response that struck me was when he took an interest in being a composer: “Over time I slowly realized that I was a composer, much like people discover that their hair is turning grey.” Plenty more interesting nuggets like that below.
For those seeking further info on Jeremy, he can be found via web at www.GuerrillaFilmScoring.com and www.JeremyBorum.com, on Facebook at www.facebook.com/JeremyABorum, and on Twitter via the handle @JezzaBomb.
You work as a composer, orchestrator, musician, engraver and copyist. Do you identify primarily as one of these titles?
Jeremy Borum: I identify myself primarily as a composer, because that is who I AM. I also do a great deal of orchestration for other composers, sheet music preparation for sessions, and music engraving for print publishers. They are highly-complementary activities, but those are things I DO. At my core, I am a performer and composer.
It’s quite normal for freelance creative people to juggle several different things. It’s rare that one specific thing will keep somebody busy all the time, so it’s good to have a few different things going. Sometimes they overlap, but most of the time it just gives you two or three legs to stand on. It’s a very common survival technique in every type of arts industry.
What are you doing with Opera America in New York?
J: I have been working for many years with Stewart Copeland, who was first famous as the drummer and founder of The Police. He then spent 20 years scoring film and television, and then transitioned into the art music world. This year I have been orchestrating an opera of his. It’s still unfinished, but most of the first act will be showcased with Opera America in January at the National Opera Center in New York City. It’s a big step on the journey towards getting funding for the first full production run. Everything Stewart touches seems to turn to fun-loving success, so I’m sure it will go well. It’s a real honor and pleasure to work with him, and it’s my first time working with Opera America.
What was your first gig as a composer?
J: A friend of mine was supposed to score a short film, but then he got a better gig and gave the film to me. I was suddenly scoring my first paid film on a short deadline, and I loved it. Also, writing for media can provide a good balance between artistry and income. It’s sustainable, there’s lots of work out there, and unlike the pop culture or concert music worlds, you don’t have to be famous to be successful.
Is there a credit you’re most proud of?
J: Although I had never written any tango music before, I had the idea to write an orchestral tango. I immersed myself in recordings for a couple of months, transcribed my favorite pieces to study them more deeply, and then wrote my own. I’m very proud of how it turned out, because to my ears it sounds beautifully authentic and natural. It was a wonderful collision of research, artistry, and intuition.
What inspired you to become a composer?
J: I don’t think any one thing inspired me to become a composer. Over time I slowly realized that I was a composer, much like people discover that their hair is turning grey. It didn’t happen one day, and I didn’t notice it on one day, but over time that’s who I became.
Where did the idea come from to write this book?
J: In the beginning it was a book that I was shopping for. I just wanted to buy it. When I discovered that there was a big hole in the existing scoring literature, I decided to write the book myself before somebody else did. It was a fun journey and universities all over the country are integrating Guerrilla Film Scoring into their curriculum, so I’m very happy I wrote it.
Although it’s called Guerrilla Film Scoring, it applies to video games, television, advertising, and any other form of media. The main purpose is to fill the gap between the study of music and a career in music, between the talented hobbyist and the successful professional. My motivation in writing the book was to mentor others, describe the current industry from the inside, and give composers a survival guide for it. For those who don’t read much it’s also a documentary film.
It’s of interest to composers because the celebrity contributors come from all different corners of the music industry and their insight is priceless. It’s of interest to game developers because it removes the veil of “inspired composer,” and reveals the craft and processes that modern composers use in their work. Guerrilla Film Scoring is a practical guide to how the media music industry works from the inside, filled with the voices of some of Hollywood’s top composers for film, games, television, and music libraries.
What was the biggest challenge in writing Guerrilla Film Scoring?
J: The biggest challenge was to go outside of myself and create something that is more universal and more widely applicable than my own personal experience. That is exactly why I built a team of 20 people, all of whom were carefully chosen from different niches of the industry. By doing that I was able to write a book that no one person would be able to write on their own.
I have composers for film, TV, video games, trailers, advertising, and documentaries. I have also heads of very different music libraries, a music editor, a mix engineer, and an entertainment lawyer. The broad range of perspectives and experiences represented in the book make Guerrilla Film Scoring a broad collection of wisdom. The places where the advice overlaps is probably universally good advice, and the places where people disagree are very interesting and thought-provoking. Balancing all of those elements was fun, but difficult.
Finally, Jeremy, any last words for the kids?
J: For those who are pursuing a career in music: Remember that by choosing to be a professional musician, you are choosing to be the owner of a small business. The people who perceive themselves as entrepreneurs are far more successful than those who think they are only musicians. Also, don’t try to do everything yourself. If you want to be in the music business, treat it like a business and build a team.
-by Darren Paltrowitz
