How to Play for Hollywood

Yesterday I received an inquiry from a gifted 17-year-old violinist looking to play for motion pictures. Here’s what I have to say about it.

First off, it’s important to know that there is no formal audition, as there is for regular orchestral positions. A recording artist in Hollywood exists in the business solely by the regard orchestra contractors and other players have for his or her playing and ability to work productively with others.

Naturally your playing must be ‘top drawer’ to become a regular. Yet equally important is the ability to be a team player; to take an interest in each and every project you are called for.

Sometimes this can be difficult, believe me. The temptations are many that lead to complacency and indifference in the often tedious process of making movies.

And once you have let your professionalism slip, even a little bit, it can be difficult to recover.

Especially in the eyes of your colleagues.

Now, to get a reputation in town one must get out and play concerts. Contractors and colleagues DO appreciate those who are out in the ‘real world’ proving and improving themselves.

For a young violinist, playing in the local professional ensembles is a must, as are participation in chamber music and solo recitals.

I was 18 years old when I began working in film. And largely it came about from my successfully becoming a member of the Los Angeles Chamber Orchestra.

Granted, I may have gone a little over board when I showed up at the first rehearsal in a suit and tie – one of my colleagues gets great amusement out of recalling that day.

Yet my enthusiasm and respect did not go unnoticed, and within weeks I was being called to play on major motion pictures.

Now, I feel compelled to let my young friend know that things have changed in recent years. The number of major motion pictures and television shows being recorded in LA is down significantly – we can thank the globalization of the musical market place for that.

My hope is that things will swing back our way soon, at least to some extent. Hollywood is still the center of motion picture production. And it remains THE place where you can find an incredible diversity of highly talented musicians ready and able to record a score in very short order.

In fact it is just that ability, to read and come to terms with complex music quickly and efficiently, that is the recording artist’s greatest calling card.

This largely acquired skill comes by constantly refining how and what you think about, when music is set in front of you.

Toward this end I advise advanced players looking to increase their game to really consider investing in my course, Paganini for Violin Virtuosity, Vol. 1. In it you will learn the kind of thinking that enabled me rise to the top of a very challenging and competitive area of music making.

Oh yes, and since we’ve been speaking of music in film, this year you might just want to check out the Academy Award show. I will be the concertmaster of the orchestra providing music for the star’s on this grand occasion.

All the best,

Clayton Haslop

P.S. You know, Milstein used to talk a lot to me about efficient practice. A lot of the advice you will find in my Paganini course came straight from the master himself.