d0mr448

Seconding percussion, especially if there's a Mahler hammer involved.

No treble?

license there music

Not to be pedantic here, but licensing music and composing for a film are arguably very different when it comes to 'exposure.' If a film wanted a piece of music I've already written (and am licensing to multiple outlets or put on an album that makes money) for 'exposure,' I'd do that if I like the idea of the film.

But composing original music for a feature film (!) with rewrites and tight deadlines, for free? No self-respecting composer should do that, and I don't mind being normative and prescriptive here. Some filmmakers and studios (not this one, obviously) somehow seem to think that music is less work (or worth less) than any other product or service. Being a film composer is hard work, and that work should be honoured.

Working on a tiny little student film for a tiny little fee (or exposure) - sure. Why not. It means you can hone your skills as a composer and aren't ready for big work yet. But big work has to mean money, otherwise we're devaluing music as a concept and the hard work behind it.