
FREE Stage 32 Webcast Event – Wednesday, October 8th at 11am PT!!
Register by clicking the link below!
When you’re crafting an indie film, the music you choose isn’t just background—it’s storytelling. The right score sets the tone, builds emotional depth, and can make your film unforgettable. But too often, filmmakers bring composers in too late or struggle to align visions, leaving powerful opportunities on the table.
That’s why we’re thrilled to announce our Stage 32 + Film-Raderie Webcast: Composer + Filmmaker Relationship: How to Make Your Indie Film Successful—a FREE live event designed to help you navigate this crucial collaboration.
This expert panel features:
- Dara Taylor, celebrated composer (Marvel’s Ironheart, The Tender Bar)
- Lagueria Davis, director of Black Barbie (acquired by Shondaland)
- Phil Popham, veteran composer (Helix Collective)
- Emilie Upczak, filmmaker and storyteller
Together, they’ll share real-world insights on:
- Why early music integration shapes your film’s tone from day one
- Practical strategies for aligning creative visions with composers
- Case studies from projects like Ironheart and Black Barbie
- How to overcome common challenges like budget and timing
This is your chance to learn how to use music as a storytelling superpower—and to build the creative partnerships that can elevate your indie film.
Click here to register, if you can't make it live you'll recieve the full recording on-demand: https://www.stage32.com/education/products/stage-32-x-film-raderie-composer-filmmaker-collaboration-webcast
Let us know in the comments below- What’s a film where the music completely transformed the story for you?
3 people like this
Yeah, Dwayne Williams 2. Maybe a scene where a character is walking to downtown. I can see those songs having Horror versions. The slowed and chopped version of J. Cole’s “She Knows” feels kind of ins...
Expand commentYeah, Dwayne Williams 2. Maybe a scene where a character is walking to downtown. I can see those songs having Horror versions. The slowed and chopped version of J. Cole’s “She Knows” feels kind of insidious.
2 people like this
Dwayne Williams 2 I think this is such a powerful move and yes it works so well, I also love how they do this in Westworld. I think in order for it to work their needs to be a good working relationshi...
Expand commentDwayne Williams 2 I think this is such a powerful move and yes it works so well, I also love how they do this in Westworld. I think in order for it to work their needs to be a good working relationship between the director and composer so that they are clear about the creative direction they are going in. Also, you need a good music budget so you can license the music you want to create a score around
1 person likes this
Great point, Hannah Woolmer. Do you think this could grow into studios having their own musicians or singers and also promoting their music through film?
2 people like this
Dwayne Williams 2 definitely, I think any song-writer would love to have their music used in this way (as long as they approved of the project)
2 people like this
I love to write ohorror music because of the expansive possibilities for different sounds. I usually compose in Finale and export the MIDI files to ProTools.