Edwin James Lynch

You don't have the money for the London Philharmonic and you can't afford the rights to Air's Walkie Talkie - but you do have a small budget (or grant, or sponsor) and you've decided you want someone to score music specifically for your film. There are several ways to go about this. Approach a professional composer Composers who do really good work are often good because they are very particular about their compositions. They may be used to working in isolation and, in effect, are already directing music in the same way as a director is directing a film - or a novel writer their book. It's possible that a musician will frown upon the idea of sitting in the same room with Herr Direcktor whilst seeking audience with their muse. So how do two brilliant and yet temperamental animals work together? Well - the director has two choices; Show them the finished film or don't show the film. The first choice can often result in the musician re-writing the director'

Most people abhor criticism and nobody likes to open their wallet. If you are either, don’t - whatever you do - write a feature film screenplay. I almost guarantee that nobody will read it without being paid. More importantly never go into production on a script that hasn’t been very heavily criticised, rewritten, analysed, rewritten gain, ripped apart, gutted and finally ... rewritten. I'm sure you can name a thousand movies with huge plot holes or character problems. Problems which could have easily been patched up with just a few bucks investment. Criticism is not the same as rejection. While Mum will happily read your screenplay, getting constructive feedback from industry professionals costs money. Constructive criticism is the key to morphing an ailing screenplay into a great feature film. Nothing else will do this. Unfortunately, getting anyone who’s not your mother to read your screenplay (or read beyond your synopsis and director's notes) costs money. Even if you d