How does one go about becoming a musician that plays on film soundtracks and other similar projects? I'm looking into more orchestrally based soundtracks, and would like to know so i can plan out the rest of my days as an undergrad/grad student.

Many thanks

Most often they are freelancers who work on many different styles of projects.
Orchestral players will play regular classical gigs, plus sessions on pop albums, plus the film scores. They might do other things as well, like teach.
The drummers I know who have regularly done score work are also first call studio freelancers on rock/pop sessions.
Very few people do one thing these days.

Check with the film department at your local university. Film majors are always looking to collaborate with others. Offer up your services and maybe you'll find someone who wasn't thinking that way, and you'll inspire them. They normally can't pay, but you'll have something to add to your reel when you interview with Scorsese. Also if you do get into something bigger, you may still have to intern or go unpaid as an assistant to the film scorer, learn all you can.

Shoeless - I think your advice is spot-on for someone looking to pursue film music from more of a composing-writing standpoint.  But Mr. Acree's question, I think, is more focused on being a "mere" musician on more traditional-style orchestral scoring dates.

Typically, the players selected to play on film/TV scoring dates come from the same pool of players in a given community that play on shows/musicals, symphony orchestras, other types of recording sessions, jazz/big bands, etc.  As film/TV sessions often cover a lot of stylistic ground and cover it very quickly (excellent -or better - sight reading a must), it is not unually to find the best players around on that regions film/TV sessions.

So how to get there?  Just become that good of a player; get some experience to build your people and working skills; start to build a reputation as a player that's good, reliable (in every way), fun to be around, gets the job down, unflappable under pressure, etc. etc.  :-)

Then position yourself someplace where there is actually film/TV work being done, but realize that you are aiming at very crowded point on the top of a very competitive pyramid.

Since the skill set require to actually do film work is so broad, I don't see the advantage to focusing very pointedly on that as a specific goal - most of the guys that I know doing that work just set out to be the very best players overall that they could.

The fact that they did such a good job at THAT is why they are doing the level of sessions they are.

David

As far as networking, try to make friends with some composers as well. There can be a mutual benefit of friendship there. As Chris said, a lot of composers start out doing free or low key stuff. At that stage, there really isn't the funds to hire an orchestra. However, if you are trying to get the work just like the composer is, perhaps you would offer a little work for free or little money just to get your foot in the door and your resume started. If that composer really likes what you do, they will be more inclined to take you on to future projects if they land them. Not all scores require a full orchestra, so a composer may really benefit from having just a percussionist come in, or only a handful of instrumentalists.

A friend of mine has really been doing great with scoring soundtracks. We worked together on a game soundtrack a few years ago. He started out doing a lot of free work, and now has gotten to the point of scoring for real orchestras in addition to his sequencing. He's starting to do big name stuff and I really expect to see great things from him in the future. He worked very aggressively to get where he's at, and a big part of it was a move to L.A. Lots of competition there though.

Composing soundtracks is something I really want to get into further, so I can really relate to your post. I'm still in the 'do some work for free' stages. I've only done one soundtrack so far, but I have recently hooked up with the same producers for a new game. It's an all volunteer project including the programmers, artists, etc.  We're all doing it for the experience and to try and get our names out there. A couple members of the last project went on to big name game companies.

Most of what I'll be doing will be sequenced because I can't hire an orchestra. I've thought about contacting the dean of music at the college I attended to see if I could work something out with him... maybe get the chance to borrow the school's orchestra   members () and set up in one of their auditoriums with a couple of room mics in exchange for school credit for the students. Instrumentalists are required to perform so many times during the semester. It would be a daunting task though with rehearsals, but it would be a great learning experience. At the very least I'd like to have some real percussion recordings (mainly for a couple of marches I have to compose).