Today we’d like to introduce you to James Roberson.
James, we appreciate you taking the time to share your story with us today. Where does your story begin?
I came to Los Angeles about thirteen years ago after graduating Berklee College of Music with a degree in film scoring. I figured that since this is where all the movies and TV shows were being made then it made sense that most of the people that wrote music for them probably worked here too. After a few months working at a composer’s home studio, I landed a job as a runner at Remote Control Productions, Hans Zimmer’s studio. That job consisted of all the usual types of menial tasks common to other runner jobs across the entertainment industry but it also gave me access to the people doing the big work and gave me a chance to sit in on meetings and recording sessions. I was also doing odd arranging or technical jobs for other composers that I’d met inside and outside of RCP until I got hired by Rupert Gregson-Williams as a full-time assistant. That was a huge opportunity for me and a very formative experience. Rupert was an invaluable mentor and remains a dear friend. That job allowed me to gain so much experience with composing, arranging, the language of film, solving technical problems, the politics of the industry, and allowed me to learn to use gear and equipment that I wouldn’t otherwise have had access to.
I worked with Rupert for five years until I landed my own television series to score, “Spirit Riding Free” for DreamWorks and went out on my own as a freelance composer. That show allowed me to draw on a lot of my musical roots. I’m originally from East Tennessee and grew up around a lot of folk music and instruments like banjo, fiddle, and mandolin and learned to play those at an early age. I never thought too much about all that in my career but suddenly it became very useful to play those instruments and to speak that musical language authentically. Since then I’ve done various other scores, many of which are guitar-based, and I occasionally help out friends with additional arranging or writing. My most recent score for the film “Heart of a Champion” draws on the same western and folk sounds that “Spirit” did so lately it seems like I’m becoming known as the horse-western guy!
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
There have certainly been various setbacks. My two big opportunities, working for Rupert and scoring “Spirit Riding Free”, both were long shots that I actually didn’t get hired for at first. Someone else was hired for that assistant position instead of me but they ended up being let go after a few months and I was approached again to see if I would take the job. The same thing happened on “Spirit”, I had sent in a reel and composed music for a pitch and the process had taken months and ultimately someone else was hired for the show but then they ended up getting let go and I was brought in to score an episode before getting officially hired on full time. I try to remind myself of those situations, which were quite painful in the moment, that things often have a way of working out even if it’s not exactly how you wanted them to or thought that they would.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I am a composer for film and television. My work has tended to be scoring movies and shows with a focus on guitar or folk instruments. I’m very proud of the musical voice I’ve developed and also the fact that I have tended to work with good friends of mine on fun projects that we enjoy. I think what sets me apart is my approach to using guitar and western instruments in scores in a disciplined way that add storytelling context beyond just letting the audience know what the setting and genre are.
Networking and finding a mentor can have such a positive impact on one’s life and career. Any advice?
I think mentors are particularly crucial in the entertainment industry where there isn’t any one definitive path to success. Being around someone who is doing what you want to do is super valuable and allows you to ask questions and really see what it’s like from the inside. As far as finding a mentor, it’s useful to try and seek out specific people that you admire and are inspired by and ask them if they need help (as opposed to asking them to help you). Usually, the answer is “yes” since the industry is often hectic and overwhelming, and especially if you’ve cultivated a broad skill set. It’s also useful to meet people in neighboring industries that work alongside yours to get a sense of how they relate to each other. I would definitely add, however, that I’ve never given or gotten work from my ‘network’, but only through friends and people that know what I’m actually like. I think approaching networking in the spirit of making true friends and being yourself is crucial, not only because it is more fun and satisfying than the alternative, but it also gives the other person a much more accurate sense of what you’d be like to work with and be around in a professional setting.
Contact Info:
- Website: RobersonSound.com
- Instagram: RobersonSound
- Linkedin: linkedin.com/in/robersonsound
- SoundCloud: soundcloud.com/robersonsound
Image Credits
Carolina Rizzotto
