Conversations with Barry J. Neely

Today, we’d like to introduce you to Barry J. Neely.

Hi Barry, please kick things off for us with an introduction to yourself and your story.
My family has always been musically supportive, but no one was in the “industry.” So, I dove into my career without any real guidelines on how to become a film music composer. I just knew I wanted nothing else.

But let’s get detailed. I wrote my first song at maybe eight years old before I could even play the recorder (the recorder being a Massachusetts 3rd-grade requirement that ended up changing my life). I don’t remember the lyrics specifically, but they were written in a rhythm – think words combined with “do, da-dos” because that’s the only way I could show rhythm at the time.

If you in any way remember the song that Matt Dillon sings to Bridget Fonda over the answering machine in the 90s movie “Singles,” it was kind of like that. So, with composing – even before knowing how to play any instruments – I just… went. I learned how to record music at Emerson College in Boston – which is a skill you absolutely must have as a composer these days – and learned a lot of other audio skills, like sound editing and sound mixing for film.

When I eventually moved to LA, there was already a great network of Emerson friends. Through this, I learned a few ways to “break in” to film composing: one was assisting an already-established composer; another was interning at a composer facility, like the company owned by Hans Zimmer, Remote Control Productions.

However, every ounce of my being resisted doing that, even so far as having set up an interview there, and the day before I was supposed to go in, I called and declined. And the composer I assisted for a short while was really, really nice, but like a super-strong magnet, I felt pulled in another direction. I have no explanation for those seemingly questionable decisions other than “gut instinct.” You just have to trust yourself.

The way I decided to break in was by making connections through other filmmakers and through friends, most of whom were filmmakers themselves.

Other than connections, LA and the “industry” mostly come down to survival. Financial survival. So, I’d be amiss, not to mention that I do make some of my living through audio engineering, mainly sound for film. And I love it. The fact is I’m a terrible waiter (though I do recommend catering to anyone who’s a freelancer). The goal is to survive financially so you can create and eventually earn a living by creating.

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
A composer with no guidelines and no family history of how the business works other than “I want to do this?” It has not been smooth! But I knew this. Especially in the way I chose to pursue my career, I expected my struggle. There are even a few days where I think, “It’ll be interesting to see IF I’ll be successful.”

Music is also a super competitive business. Composers, we’re everywhere. I even hear stories from visual artists in the video game industry who tweet out their artwork only to get five messages asking, “Does this game need a music composer??” That may be an extreme example, but it reminds me that there are thousands of folks waiting on the sidelines.

Building personal relationships may be the most important thing you can do. Be nice, communicate, and bring your talent to the table. Remember, everyone around you needs to be successful, too.

Thanks – so, what else should our readers know about your work and what you’re currently focused on?
Musically, I pride myself on creating a completely custom sound for every film score I do.

This can be through traditional instrumentation, using traditional instruments in non-traditional ways (like hitting, bowing, drilling through, whatever), or creating rhythms through non-instruments—I came up with a particularly cool sound one afternoon while drinking some green tea and tapping my finger against the mug.

Creating a completely custom sound may seem obvious, but occasionally, a director really just wants a score that sounds similar to other movies in the genre, and that doesn’t always lend itself to creating anything that new. And that’s fine. But I got into music to enjoy the process, and that enjoyment comes from creating something that excites me. Most of the people I work with trust me in creating something fun and individualized – that is still very much in lockstep with their narrative vision.

One director I collaborate with, Jeremiah Kipp, said something that’s now glued to the top of my website: “What struck me about Barry’s body of work was how well he understood the rules of genre — [but] it felt like he was making his own path alongside those rules. His work felt singular, unique, unexpected, thoughtful, daring.”

This is what I pride myself on. I write music that I am emotionally invested in, that is exciting to me, and that will elevate a film.

What do you like and dislike about the city?
What I love most about Los Angeles is maybe what I like least: the do-ers.

There are folks who love creating and don’t just talk about what they would create. Those are the ones I want to be around. Then there are the do-ers who are hustling but whom you can tell are hustling. I can’t tell you how many conversations I’ve had at parties where I’ve had to – unprompted – listen to someone pitch me their film idea, but they’re just talking AT me (know that it is very freeing to completely mentally check out of a conversation like this.

Try it sometime: they never notice). But I am concerned for these folks because I’ve seen a number of them leave the industry way too early, almost like they ran out of steam. Not to say that “hustling” is a bad word, but you can’t really be present and recognize the creative needs of the people around you if you’re pushing too hard.

The folks who stay – and the ones I surround myself with – are the people who can collaborate because they want to tell stories. They respect your time, and they understand what you can bring to the table because I have an experienced ear over hundreds of projects.

As a do-er who loves to collaborate, I want people to know how invested I get into my music and, concurrently, their film and vision.

Contact Info:

• Website: https://www.barryjneely.com/
• Instagram: https://www.instagram.com/barryjneely/
• Twitter: https://twitter.com/barryjneely
• Youtube: https://youtube.com/barryjneely

Image Credits
Cinequest Film Festival