Composer Laura Olson

Like most classically trained musicians Laura studied piano and cello as a young child and fell in love with electronic music as well as celtic harp in her later years.  Combining the three styles of music seems like a natural extension of her years as a symphonic musician and a music educator.  She resides in the central valley of California and is the owner of her recording label Blue Steer Studios http://www.BlueSteerStudios.com.    Mossflower Country and her latest score for Border Guardians of Ackernon is composed with large scale orchestrations and choir in the scope of a big-budget feature film.   Her current projects include scoring a yet untitled documentary about web series and her upcoming album Gypsy Road.

You can also follow her on Twitter https://twitter.com/#!/BlueSteerStudio and

Facebook https://www.facebook.com/pages/Blue-Steer-Studios/132780693424736

What was it like creating the soundtrack for "Border Guardians of Ackernon"?

Working on an indie project means little to no money so I try to take projects that appeal to me.   I really love fantasy books and movies so I couldn’t wait to start working on this one!  It’s an amazingly well thought out story set in a world with Russian and Mongolian influences.    I’ve had some experience with doing Asian music in previous projects but had never attempted anything of a Russian nature so this was new and fun for me.

I was going to have to work very fast once the filming was done so I started working on themes as soon as I could with the director’s input.  It was definitely a collaborative process all the way.  The director wanted music that was mature and deep to fit the characters and epic because even though they were very short episodes they were to connect together as a larger work resembling a feature film.  Again because there wasn’t a big budget I did most of the instruments myself enlisting the aid of some friends, and sweetened it with sampled sequencing.

One of the more interesting days was working on the “under-voicing” for the scene where Arges speaks telepathically to the camp counselors.  Each scene had to present his voice in a musical context corresponding to their personalities.  It was tricky and difficult to make sure his actual voice wasn’t masked and that the dialogue remained clear.
How do you define success?

When I’ve given the director absolutely what he wanted for a scene.  This can be easier said than done.  This kind of success is a result of good communication and collaboration within the team of people making the film. It also points out how important it is to ask the right questions from the director and if you need to ask questions from the art department too.   It’s so vitally important for the music to enhance the scene and not detract from it and getting just the right emotion.

I also define success in a broader sense of getting to do what I want to do with no restrictions.  (Other than my own self-imposed ones)   For that to happen I need to receive recognition that what I’m doing has value and others want it to be done by me.  I’ll be the first one to admit that usually needs be by selling CD’s, commissions, and contracts for work. If the work pays for the costs of making it then that is a success!  Awards can also be a nice way to show that your work has value.  I also like to use my work in classroom settings to turn kids onto film music and the broader realm of classical music.  That can be very rewarding.
How do you handle rejection? 

Rejection is not necessarily failure.  Art is subjective.  I’ve experienced tons of rejection and even though I’m not happy that my music wasn’t well received I can honestly say it’s made me a better composer. I don’t give up.  Rejection forces me to try to hear my music more objectively and to also address what elements are important for me to get feedback on, and which are not.   Every artist has some aspect of their art where outside opinions just don’t matter.    So, because I want to be commercially successful, I pay attention to these elements and work on trying to give the listeners what they are looking for while still retaining my own sense of style.   But my music has to always be what I want first.  If I don’t like it then it doesn’t matter what someone else thinks of it.

Rejection also happens without me even knowing about it.  And it happens without really knowing why.  It’s like getting a “D” on a paper at school and not knowing what was wrong with it.  I would like to know if it was rejected for something that can be improved like mixing or recording quality or if it was rejected for a more subjective nature.

What inspired you to create Blue Steer Studios? 

I was starting to do more projects of a professional nature and I wanted to present a more business-like image to my clients.  It was also important to me for the community (and my peers) to see that I was taking composing seriously and that it was not just a hobby fun thing to do.  I was also starting to get more corporate and private accounts and making some money and spending it.  My accountant suggested that I start a business for tax reasons so that I could write off my expenses against my revenue.  Great advice!

I’ve worked for a number of years out of spare rooms and apartments and as anyone can tell you who works at home, it is really easy to get distracted by the mundane household chores.  A few years ago I finally purchased the house of my dreams and it came with a 2000 sf barn.  So the barn is being currently converted to my official studio space.  I will have a composing suite, a live recording space, a small dry vocal space and a mixing space. And a couch.  Can’t forget the couch!  I can handle most of what an independent film/tv producer might want including sound design and field recording.  Having my own recording label also gives me something to offer recording performers.  I can make their album for them and have it retail ready.  Now I get to seek out performers who would like to make an album but have never pursued it.
What is the estimated number of projects you have worked on? 
Somewhere around 12-15, I guess. Wait I just thought of another few… I’m only really thinking of my big projects like films or full albums that have actually been published or released. I’ve also done free projects for the experience or as favors. I’m just starting to get to a point where people are seeking me out instead of the other way around.  Of course I love doing the film style scoring the best but one of my favorite projects in the past was a composition I wrote for the Buchanan High School band, orchestra, and choir.  They were to perform the music (in a rehearsal setting) and then be filmed rehearsing it to use as the background score for an ad campaign.  I have to say it was really great to see young students playing music that I wrote just for them.
Who is your favorite composer? 

Do I get to pick only one?  If forced to choose only one it would have to be someone whose work is the most mentally and emotionally stimulating.  Johannes Brahms has got to be it for me.  His work is intriguing in so many ways.  His melodies can be incredibly complex and also simple at the same time.   There isn’t anything he’s written that I’ve heard that I don’t like.  I also like the way he incorporates folk tunes into his work.   His use of instrumentation and tone color are very advanced for the time period when he was alive and I love his orchestration ideas for blending instruments.  Every good composer can use good techniques but much of his work goes beyond that into innovation.

As I listen to a wide variety of music from many different genres I have learned to respect the ideas that go behind that kind of music.  My favorite composer for Irish Traditional Music is Ed Reavy. in electronic music I find myself listening to BT (Brian Transeau), Karl Stockhausen, Kraftwerk, and Brian Eno.  In film music I love listening to Hans Zimmer, Alan Silverstein, Brian Tyler, John Williams, and Harry Gregson-Williams and I frequently listen to the older styles of Max Steiner and Erich Korngold .  They’re a hoot.  Then of course there’s centuries of classical composers…
How has your life changed since you started Blue Steer Studios?

It has actually become more complicated and more challenging mentally.  It’s a lot to juggle and I’ve improved my discipline about working.  Part of running a business means I’m seeking out work if I don’t have any projects underway.  Many times these projects are free but my strategy is to do such a great job that I end up making some great connections with directors.  I’ve become more proficient and active with the social media as well as developing my own website.  I have to admit I’m not comfortable asking people for money so my marketing takes on a more “personality advertising” approach.

Projects have come my way that have allowed me to travel and meet new people so I’m doing a lot more traveling than I used to.  I’ve also had to learn more about the technological side of my studio.  I never realized how much my reading budget of time and money was going to increase!  I’m also finding that many of my peers and friends are coming to me to help them with their projects which I love.  I’m always happy to help and I’m glad that I can be here for them to provide advice and give out the little knowledge that I have.
What is one piece of advice you can give to someone who also wants to become a composer? 

If you’re doing a project for someone else make sure you ask enough of the right kinds of questions.  You don’t want to miss some important detail about a scene or emotion that might completely change how you approach the cue.  Many times directors need help refining what they really want.  I’ve been very fortunate to work with people that have some basic knowledge of music so it makes it easier to discuss concepts like rhythm, melody, and harmony, but so many people out there don’t really even know those terms.   They don’t understand how music works.  It’s like a mysterious magical force of nature.  They know it’s important for their show but that’s all.

Study, Study, Study, practice, practice, practice, and get feedback from as many people you can that you consider authorities on the subject.  There is so much reading that can be helpful as well as people you can interact with through the internet.   Going to a school that specializes in your type of composing is great because not only do you get the study, practice, and feedback you get connections to people in the industry.  You usually have better access to people who can (and will want to) perform your works. Also do as many students projects as you can even if for free to gain experience and insight.  That sort of goes under the “practice” category…
What do you like to do besides composing?

I love gardening and just puttering around on my “farm”.  There’s always some kind of little project that needs to be done.  Fixing fences and repairing sheep enclosures has been high on the list this year.  I’m a voracious reader of everything Science Fiction or Fantasy related.  I like outdoor walks with my doggy friends and I play combat re-enactment games (Vietnam or WWII) that use airsoft equipment with my Vietnam era veteran friends.

I’ve started spending more time volunteering at the Fresno Bully Rescue.  I love dogs (I have my own Australian Shepherd) and want to do more to help those that have made it their life’s work to rescue animals.  This group of people works really hard to rescue and shelter these dogs and get them into forever homes.  They also are great at community outreach to educate people about the bad rap this breed of dog is getting and are working to end breed specific legislation.  So I try to help them. I plan on offering to donate the sales of my newest CD to this organization and others rescues when it gets released later this year…
How would you describe your music education?

Well it was pretty typical for a middle income student growing up in a rural public school system.  My High School was fairly large so we had a good size orchestra and that’s when I started to get really serious about playing the cello.  I had been playing in the local community youth orchestras and State Honor Orchestras etc. and eventually worked my way up to section leader.   My choices, unfortunately, as a career were told to me to be education, therapy, or the performance route.   I wanted a stable career and wasn’t into healing people so I chose colleges that trained for public school music teaching.  I didn’t know you could have a career in music business or composing or even orchestration.   In college the composing majors were mysterious people lurking in the back halls of the school.  The few concerts that I attended were very avant-garde (I even performed a few…) and not at all appealing to me.    I don’t regret my education as it did indeed prepare me to be a great teacher. And now I feel like I have the ability to address being a composer to my students and plant that seed in their minds that they might not have thought of.

Later (about 10 years) I went back to school for a Masters degree in Performance.  But this time I tailored it to exactly what I wanted to study.  It became a historical ethnomusicology based line of study focusing specifically in Irish Traditional Music.  I ended up presenting an over the top, theatrically staged concert with costumes and sets and a ton of friends playing Irish music for over two hours.  It was recorded and broadcast by the local PBS station here and I’m very proud of it.  I had a large audience, somewhere around 100 people I think, and it was very well received by the community.  I was my first experience in marketing on a larger scale and I learned some very useful lessons.
What are some of your favorite American film soundtracks?

Star Wars, Lord of the Rings, and Last Samurai is at the top of the list.  Then comes Rocketeer, the and third Pirates of the Caribbean, the first Narnia, Constantine, the first Tomb Raider.  I confess I don’t watch too much tv unless I can catch it on hulu or Netflix.  Battlestar Galactica (the newest version), Merlin, Deadwood, The Walking Dead.   I love the music for Firefly and MI-5 and the new series Once Upon a Time is pretty good.  The theme song for Castle is really catchy.  Even though they are older series the music for West Wing, XFiles and Lost.   Its hard for me to watch a show and not pay attention to the music.
How would you describe the music "scene" where you live?

The Fresno/Clovis community is primarily agricultural area with an active sports interest.  So local interest in the arts is present but not pervasive.   We have a very good Philharmonic Orchestra, two great University Orchestras, some fabulous magnet art schools with very active teaching staffs,  youth orchestras that run from elementary to high school,  2 community wind bands, and a the standard indie band, jazz, and bluegrass ensembles that play at the local pubs and venues.   Some people say that we are a cultural “black hole” but I wouldn’t go that far. Not every place can be L.A. or the Bay Area.   This area is improving in the way it treats the arts but very slowly.  I see too many bands playing for free around town or for dinners and the like.  Really good bands, not hacks.  Many of the local venues take advantage of the eagerness and need for the musicians to play by not paying fair wages I think, but the musicians put up with it because they are so desperate to play. It’s a tough catch 22 situation that many of us are working to improve. Ok, I’ll get off my soap box now…

What's your opinion on crowdfunding?

I firmly believe that art should be supported by the community.  That being said, today’s community is very global and has different ways to show support of their favorite artists.   I feel that people should get something for their money.   The best way they can show support is by purchasing the music that they like and not stealing it. That is in its essence “crowdfunding”.  But I know you’re talking about the websites that market your project to mass “crowds” for lots of little bits of money rather than one or two big investors.

I’m seeing more and more artists and directors turning to this as a source of getting their projects made and it looks like this is a marketing method that is here to stay.  I might try this someday but there are still a lot of legal financial bugs that I want worked out first.   I’m still reading too many horror stories about failed KickStarter or IndieGoGo projects and the implications.  So I’ll wait a little longer and in the meantime keep working the traditional marketing methods.  Here’s my fear…”A big pile of money from a lot of people who won't feel serious pain if it all burns up is a formula for nobody taking the investment seriously”.  Nothing speaks louder to an artist (or interested corporate sponsors) than CD sales or hits/views on a website.

You could go back in time and see any film being scored. Which film would it be and why?

Without a second thought it would be “Star Wars”.  I’m acquainted with a harpist who played for the London Symphony at the time when they got the contract to record the score.  (Although I didn’t meet her until after the fact…)  I loved hearing her stories about what it was like to be in a recording session on such a large scale.   Before this score was made, big orchestra music from the 40s and 50s had gone out of style for movies.  Star Wars brought it back in a new grander style with a vengeance!  I know John Williams said that eventually large orchestras would come back into vogue and he doesn’t want to take credit for that happening but I disagree.   It takes a creative team willing to take risks to turn the tide of fashion.   I would LOVE to witness the endless spotting sessions, team collaboration and decisions that went into the making of that particular score.   It was a huge piece of work and nothing has rivaled it until the making of the score for “Lord of the Rings” by Howard Shore.

What's your favorite movie musical quote and why?

I have a few that I’m partial to.  My favorite is If it sounds good, it is good.  Said by Duke Ellington, a very introspective composer who describes the nature of art so perfectly.   Another is the one on my website, less well known but fits my personal philosophies of life and music so I use it.  Life is like music, it must be composed by ear, feeling and instinct, not by rule.  Nevertheless one had better know the rules, for they sometimes guide in doubtful cases, though not often.  Samuel Butler.

Have you been to Ireland? 

Yes.  I have a Masters of Performance in Irish Traditional Music (Ethnomusicology) and part of my research was to study the music at its source.  I spent a week in the east and south of Ireland and Dublin and another week on the west coast and into the Belfast area of Northern Ireland.  It was very educational and informational (not to mention just plain fun) meeting people and playing in sessions in pubs and other venues.  I met so many music makers from academic historians to pub owners (who sponsor and encourage the local music scene) to just your average street musicians making music and maybe even trying to sell it to tourists.  From there I went on to England and Scotland to contrast the music scene there.  I discovered that it was very different from Ireland even though it’s so close geographically.  Even though it was a while ago that I took that trip I still try to maintain communication with some of the people I met there.  I’ve also met new friends via facebook and twitter and I have found some great online radio and tv stations to help me keep current in the “trad” Irish music scene.

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Thank you Laura for doing the interview. I'm a big fan of "Border Guardians of Ackernon" as a series and soundtrack. I wish you all the best with your CD and other projects.