A FRIENDLY CHAT with

JOEL MCNEELY

Joel McNeely is an American Emmy® Award-winning composer and conductor with more than 100 motion film and television credits. He is an accomplished arranger, musician, songwriter, and record producer. In the interview below, Joel shares some of his most memorable moments ….



Did you know as a child that you wanted to work in music?

Yes, it never was a choice. Some kids excel at athletics and other things, but for me it was music. I've always felt that this is what I was born to do.



Did you know that it was going to be in entertainment?

My father was a college professor at the University of Wisconsin, and a writer in Hollywood. For one of his television shows, he hired the great composer Elmer Bernstein to write the main title.

For my 12th birthday, my father decided to take me with him to observe a recording session. He told Elmer that I was a young musician very interested in his work. When I arrived, Elmer had prepared a copy of the scores for me. He let me sit on the podium behind him while he conducted the orchestra. It was a real lightning bolt moment. I can remember it like it was yesterday!



How did you start your career?

Being a composer takes a lot of training and many of years of studying. I attended the Interlochen Arts Academy in Michigan, the University of Miami and I went to grad school at the Eastman School of Music in New York. By the time I graduated, I had a rudimentary technical knowledge, but no real practical training.



When I moved to Los Angeles, I was doing quite well as a player, but I was getting nowhere as a composer. I couldn't even get a meeting! After a year, my wife and I decided that I needed a really good demo reel. We took all our savings, hired a recording studio and got all our musician friends to come in and play for $25 and a lottery ticket.



After the tape was completed in the mid-1980s, I was invited to participate in the first Composers Workshop at the Sundance Film Music Institute. It was amazing! I got to work with all my heroes, including Elmer Bernstein. The last night of the workshop, after I played a piece from my demo, an agent from LA took me aside and gave me a card. Later, they signed me and I've been working ever since.



Was the work different/easier back then?

Technological advances have made this job more efficient. When I started, personal computers were rare, so we didn't have programs assisting us in all of the technical aspects of composing. In addition, everything was done on analog tape. There was no digital recording.



When/What was the defining moment in your career?

The first one, I mentioned earlier when I was 12. The second one was in my early 30s. I got a call to go to the Bel Air Hotel and meet with George Lucas. He was starting his new television show, “The Young Indiana Jones Chronicles”. Once I landed the job, I began a multi-year odyssey. I was certainly underqualified and I had to learn very quickly, but working with him was an incredible education. A few years later, George called me back to work on “Radioland Murders”.



In addition, my work with Seth MacFarlane has been equally as inspirational, fun and challenging. I’m currently working on the music of “American Dad” and “Orville”. I’ve also arranged and produced records with Seth. It’s a real pleasure to work with someone who appreciates music as much as Seth.



Can you describe your process when you’re working on a project? Walk me through how you tackle a project from start to finish.

My process is different with every project! First, I start by reading the script. Once the picture is in good editorial shape, I have a spotting session with the director and the producer to determine the musical needs. Then, I take my notes with my music editor and write. When I’m done, my assistant creates an electronic mockup of the cue using samplers and computers. Then, I send the demo to the filmmakers and we have a creative back and forth. Once we agree on a version, we have a scoring session. Those are always great days! You stand up on a podium, and you conduct your music. Finally, the music gets mixed and dubbed into the picture.



What are some of the technological developments in the industry that you’ve had to adapt to over time to stay current?

Digital recording has had a big impact on the industry. Imagine working with tape your entire early career, and then suddenly you're working with digital media where you can just press a button and be anywhere in a particular piece of music. The same goes for digital video.

Additionally, the notation software combined with the sampler technology has also been remarkable.



Do you think technology has positively - or not - helped the field? How?

As far as I'm concerned, changes have all been positive except for the streaming of music. It’s a real double-edged sword because over time people have gotten the notion that music should be free and that the creators don’t need to be paid. It's very strange, people have access to all the music that's ever been recorded or written at their fingertips, but yet music is undervalued.



What’s your favorite piece of equipment on the lot? Why?

Fox has some wonderful vintage microphones. In addition, the room and the walls are historic. Some of my favorite film scores have been created within those walls, and it's certainly a very special environment.



What is the Fox experience like for you? What makes the experience here stand out?

Fox has top professionals; it's always a very pleasant place to work. Everything runs like clockwork, you can always count on everything to be maintained properly. When you have a very expensive orchestra, it’s great to know that nothing will go wrong.



Where do you see the industry going in the next 5 years?

The industry is changing its delivery mode, and streaming has become a huge part of how music and films are getting to consumers. As a result, I think that perhaps the music is going to change. If we aren’t always recording for a large theater, we may have to change the way we approach the sound and the instrumentation.



Any words of advice for someone who wants to “make it” in your field?

Get great training! Know the history of music, know the history of film, and be a consummate musician. If all technologies were taken away, you should still be able to write music by hand.



When you’re not working on music, what do you do for fun?

Music is fun, it’s 95% of what I do. My wife is the same way, she’s a busy violinist. Other than that, we love our family time and hanging out with our children.