Interview With Composer Boone Johnson
April 10, 2008 11:16 am
Boone Johnson is a composer and native Oregonean. I met him at an Oregonmedianetwork.com panel discussion recently (see here) where he spoke along with several other composers about the process of composing music for film and the communication gap between directors and composers.
He has composed music for narrative film, documentaries, and commercials, and he agreed to answer a few of our questions.
In 2007 you scored a locally produced film called Burnside. The filmmakers selected you from a pool of applicants on Craigslist. Was it a harrowing experience, or did they decide quickly?
I think the process took a couple of months from the initial Craigslist post to their final decision. I really respected the questions they asked and the time they took to pick the right composer for the style of film they were making. I enjoyed the process, because it helped my to really think about what skills I bring to the table and what styles of music I am strongest at composing in.
You were able to record the score for Burnside at Lewis And Clark, and you brought in various musicians. Where do you find the players, and how do you go about choosing the instrumentation?
Cameron and Matt (the directors) had a pretty specific vision for the type of music they wanted for the film and they gave me lots of examples to work from. This definitely guided my instrument choices. Craigslist again played a part in helping to find musicians for the film, especially string players, with whom I have a connection now and can use for future projects. I also knew a decent amount of musicians beforehand and brought in the ones I thought had the style most appropriate for the film.
What is Aural Produce?
Aural Produce is the name I chose for my business, as opposed to just using my name only. From the beginning, in 2005, I planned to do more than just compose music, so I wanted a business name to reflect the various aspects of audio there are. Music plays a very nourishing part of most people’s lives, and I wanted that to be reflected in the name I chose. Being a music composer often puts you in the role of doing sound design and possibly voiceovers as well, so I wanted a company that could encompass these other aspects and take on other employees at some point.
It’s a good name; connotes “organic” and “sustainable”. Is there a central, physical location for most of the company’s work, or is it a process that more often requires you to be on the move?
Most of my work is done in my studio, which takes up a good portion of the basement of my home in NE PDX. Occasionally, for recording work, I’ll get into the field for sound effects and ambient noises or more specifically to different performance halls and such for other recording projects. My goal is to eventually move into an official work space away form the home as my business grows and the need for more room is needed.
You’ve also done some work for commercials. Do you believe it’s a more effective business strategy to employ licensing companies, or do you feel it’s better to put your work out there for free in smaller projects until the right people see it?
I think it’s a fine and accepted practice to take advantage of both of these routes. As most of us know, so many things in this world, particularly in the media world, happen because of random discoveries or meetings. The more visibility you have just opens up those possibilities to a wider audience. This game is still about people, and the more people you connect with, the greater your chances of finding places for your work.
People know Portland is festooned with musicians, but they probably don’t often think of Portland first when they think professional film / documentary / etc. composing. What do you like about it?
I think the sense of community in Portland is a wonderful thing to have. There are so many artists, that the chance of connecting with someone to collaborate with or learn from is high. It’s also a great place to practice your craft because so much of what happens here is on a smaller level than the big media cities. There’s a whole range of types of jobs, with varying budget and exposure sizes. There seems to be something for everyone here.
Ever see yourself living in L.A. or New York?
I’ve thought about it, but it’s hard to imagine leaving Oregon. There are so many variables with every situation, so I would never rule it out. If the right circumstance presented itself, I would consider the options. I am excited to see what happens in Portland over the next decade, as things grow and the media world continues to establish itself here. I think there will be good opportunities for those that stick around and work hard to play a part of the growing media industry in Portland.
Care to speculate on the nature of this work? Any trends you’re noticing?
With so many media people from California and other cities moving into Portland, and with the overall growth that is taking place here, it is inevitable that the industry will grow as well. Portland continues to be a hotbed for film, in both the indie and Hollywood realms. There also seems to be a “changing of the guard” happening in Portland right now as well. Many of the media pioneers in Portland are reaching retirement age, which opens up places in the industry for newcomers. With an ever-growing artist base moving to Portland, I think this adds up to a lot of new ideas in local media production and a lot of needed stimulation.
What’s on the table for Boone Johnson and Aural Produce?
On the art side, I’m finally making time to record some personal music projects that have been put off for too long. On the business side, It’s time to update the website, get out a new reel or two, and establish some more relationships in town. On the work side, I’ve just finished up a documentary and have another slated for the summer. Last night I put the finishing music and sound design touches on the POW Film Festival bumper, which will be showing before each film in the festival, which is in mid May. Always tons to do. Onward…
Boone Johnson on Oregonmedianetwork.com
Aural Produce
