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Dee Marcus: From Ghost Producer To A Composer For Trailers

Marko Prodanovic, known as Dee Marcus, has been interested in music since the age of fourteen, and today he is telling us about his beginning and how he switched from electronic music to an orchestral music for film and trailers.

Before we start talking about your current work, tell us something about your beginning and what it looked like?

Well, music was not my first choice, I first started to be interested in graphic design, but  somehow It turned out that I music is what keeps me interested and the graphic design was only a hobby.

Started like most, as a DJ, playing music in local clubs and bars. But very quickly I lost interest in that, as I always wanted to make my own sound. I remember, 10 years ago, that Internet connection was very slow at my home, and the online music materials were very limited, so, therefore, the process of learning was more difficult.

And of course, everything sounded awfull in the first year!

You mentioned that you have been working for a long time as a “Ghost Producer”. Can you explain this concept and how did it come to this? Would you advise young musicians to go that way?

Ghost producer writes music for others, basically selling rights for his own work. In most cases, it’s an agreement where you give 100% of copyrights. I quite accidentally came up with the idea to start with that, but I can say I had a lot of luck with the first job. I got it only in a few hours from the moment I applied for it. In past years I definitely thought I was doing a great thing, but now, after 7 years of working as a ghost producer, I am aware that I have quite neglected my production, and that way it’s very difficult to stay on the music scene. The other bad thing is, if you have a great song and it becomes a worldwide hit, you don’t have any extra benefit from that. If I had to choose again, I would probably make a better balance between producing for others and for myself, and that is my advice for younger colleagues.

Can you reveal to us the names you worked for? Have you ever had second thoughts after you sold a song?

I can’t reveal identity because that is a part of the deal. Those people are mostly very talented DJs with a lack of time, due to their all-time performances. Given that the music industry has changed a lot, everyone is aware that they have to keep up with the trend and constantly release new songs. We’re just helping them there. The second question is very interesting, I had a couple of times the situation to see “my” song on top 100 list, and also a couple of them reached millions of views on You Tube. I certanly had thoughts what would happen if my name was there.

We can notice that you changed few music genres in the past years. Are you currently tied to a certain one, since you still produce for others?

No, I never wanted to be tied for a particular genre. Firstly, because of myself, and secondly, because I can produce a far more tracks than I could have if I tied myself for a particular genre. In the beginning, it was only an underground house, but I soon started with a more commercial sound, mostly dance and pop. From time to time, I still make Underground style tracks.

Do you have music education? Where did you learn about music production?

Actually, when all the children started going to music schools, I really didn’t show any interest in that field. I don’t even think that I would be successful in music school back then. For some things you probably mature later. I am learning all of that now, to play a piano, to read music sheets and many more things related to music theory.

You announced a new single on the instagram. Tell us something about it.

The idea for the song was created literally in a day. In a moments like that, full of inspiration, I try to implement every idea to the maximum. We decided to record a music video for that song also, and we have very positive comments on this entire project.

After all of these genres, how you started with orchestral music as well?

Well, I dont have a simple explanation for this, although I thought of it myself for several times. Basically, when I improve some skill, I like to get into something new. Film music, and orchestral music in general, is something that is definitely the most challenging for the composers.

I spent a lot of time working on myself, and I think that it will be worth it. I was very lucky that I didn’t have to go step by step in this area, as I got a chance to join incredible Hollywood agency that provides music for trailers. Their portfolio is impressive! I don’t think you can find a newer movie that hasn’t use their music for at least 1 trailer.

Did you have the opportunity to work on a trailer up until now?

Given that I’ve been only for a couple of months in the team, first period is planned for composer practice and improvement. I have my mentor who listens very carefully everything I send him and provides me very detailed guidelines for the next compositions. This preparation period is maybe longer than expected and the reason is that when you receive a raw trailer, deadlines are very short, guidelines are strict and you need to be very effective. Anyway, I expect to get a chance to work on a trailer very soon.

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About RJ Frometa

Head Honcho, Editor in Chief and writer here on VENTS. I don't like walking on the beach, but I love playing the guitar and geeking out about music. I am also a movie maniac and 6 hours sleeper.

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