How I Almost Got Scammed by a “Recruiter”

I’ve been on a bit of a roll lately. After buckling down and really applying the feedback I’m getting from the screeners at the TAXI A&R service I use, I’m up to seven of my sync music tracks being forwarded to publishers after barely two years in. Some folk say it took five years or more to get their first songs forwarded, so that feels good! With regard to my voice-work, I’ve impressed a new publisher & author to the point that they’re considering having me do a seven to eight book series which is almost like a regular job to a freelance talker like me. And someone I’ve done short film scores for in the past is gearing up to produce her first full-length feature and she’s indicated she wants me to compose the score. She’s already given me a script, which is virtually unheard of unless you’re truly in the running. So, when I received an email from a recruiter regarding a composing gig for another film, I got excited.

Too excited.

The email arrived in my Outlook box, which I usually use for LinkedIn projects. I’ve been applying for music jobs here and there so it wasn’t entirely unusual for a message of this nature to have arrived there. The email was brief:

Hi Douglas,

I hope you’re doing well. My name is Polly, Executive Recruiter with Spencer Stuart.

I’m reaching out regarding an active search for a Composer role for the independent film project “The Devil Never Lies” in Los Angeles, CA, an on,site position creating original music that supports the mood, tension, and emotions of the story.

Your extensive experience composing original scores for short features, being part of the music department for the Discovery Channel series “Heartland Thunder,” and your seven albums of instrumental orchestral, rock, jazz, and electronic compositions streaming worldwide stood out strongly during our shortlist review.

If this aligns with what you’re exploring, I’d be happy to share the full role brief.

Best Regards,

Polly

Executive Recruiter

Spencer Stuart

So, “Polly” set the hook. She claimed she had a job available and set the hook by flattering me. My first clue should have been that the flattery was copied almost directly from my web site.

Originally from Anchorage Alaska, Douglas Wayne Ricketts (ASCAP) is a Los Angeles–based composer and producer creating rock, jazz, electronic, orchestral, and hybrid cues for film, TV, and digital media. An active member of the TAXI A&R sync community, he has scored short features, contributed to the music department for Discovery Channel’s “Heartland Thunder,” and produced a growing catalog of high‑impact cues for editors and supervisors.

I failed to take note of the fact that she’d sent her email at 7:06pm. That should have been another clue, most professionals keep it to business hours unless I’ve worked with them in the past and/or know them well enough to consider them a friend. I replied with a short email.

Hello Polly,

Thank you for your message. I am interested in this project. Please send me all available details. I’m interested in the themes of the film first and foremost and would like to know what kind of music the project will require in order to determine if I’m the right fit for score composition.

All my best,

Douglas Ricketts

After sending the email I did a little research. There appeared to be a real short with the title “The Devil Doesn’t Lie” and there’s a nice little video by the writer and director for fundraising. At 11:46pm I received the following reply.

Thank you for your interest. Below is the full overview for the Composer position:

Hiring Company: The Devil Never Lies (Independent Film Production)

Recruiting Company: Spencer Stuart

Role Title: Composer

Location: Los Angeles, CA (On,site)

Reporting To: Director / Producer

Compensation: $1,000 flat rate (est. 30 days of work)

Employment Type: Contract / Project,based

Education: Experience in film scoring preferred

Key Responsibilities

· Create original music that supports the mood, tension, and emotions of the story

· Collaborate with the director and producers on the tonality, scale, style, and feel of the content

· Make revisions based on feedback from the production team

· Ensure music aligns with the narrative and emotional arc of the project

Ideal Candidate Profile

· Experience composing original scores for short features or film

· Proficiency in music production software and composition tools

· Strong collaboration and communication skills

· Ability to work within project timelines and incorporate feedback

· Experience in sync music, orchestral, rock, and electronic genres

· Located in the Los Angeles, CA area

Screening Questions

1. What is your current availability to start?

2. What compensation range would you consider for this role?

3. Please share samples of your film or short feature compositions.

4. Are you located in the Los Angeles, CA area?

Please attach your resume for internal review.

While the majority of this message didn’t come across as out of the ordinary, I found it very odd that “Polly” wrote to me at such a late hour. She had ignored my request for a description of the themes of the movie. She also didn’t name the director or writer. All of those set off my Spidey-senses. Still, I replied the next morning with the information she requested. She send this reply that afternoon at 1:59pm.

Thank you for your response.

I have received your resume and completed screening questionnaire. Thank you for providing the requested information and materials.

I will review everything with the team and will return with feedback once the evaluation process has been completed.

To answer your question, yes, this opportunity is associated with The Devil Never Lies. However, the script and related production materials are confidential and are not being distributed at this stage of the selection process. Candidates who advance through the review process will be provided with additional project information, including any materials necessary for consideration, subject to the appropriate confidentiality requirements.

Evaluation process? As you’ll probably recall, she reached out to ME after copying part of my bio… I mean, reviewing my work. That was four strikes so far, something was off. I put her message in an email folder and got on with my normal afternoon activities. Another message from her arrived at 4:03pm.

Thank you for your patience.

I have completed an initial review of your materials, and the feedback has been very positive.

Your background in film scoring, original composition, and work across orchestral, rock, jazz, and electronic genres aligns well with the creative requirements of this project. The samples you provided demonstrate a strong understanding of mood, atmosphere, and narrative support, which are important considerations for the production team.

I also appreciate your availability, your thoughtful approach regarding the script and creative direction, and the additional context you provided regarding your previous scoring work.

Before I proceed with the next stage of review, I have one quick question.

To help present candidates as effectively as possible, it can be helpful to have supporting materials in addition to a resume, such as:

• Cover Letter tailor for this role

• Composer Bio

These materials can provide additional insight into your creative background, scoring experience, and overall approach to film composition.

If you have any of these available, please feel free to share them. If not, just let me know which materials you currently have and which may still need to be prepared.

Do you currently have any of these materials available?

“I” have completed? You told me there was a team involved. What feedback? You reviewed the material and gave yourself feedback? And you need a cover letter “tailor” for this role and a bio (which you’ve already reviewed on my web site as indicated by your use of almost the exact same language)? And what “thoughtful approach” to the script have I engaged in when I haven’t even read it? And the whole writing style is off. I took a peek at her LinkedIn profile. This lady is (supposedly) in Charlotte NC while the company she is representing herself as a part of is in Los Angeles. I dug in. I noted the email she’d been communicating with is a Gmail account. There was no mention of her on the Spencer Stuart company website. Then I found this tasty nugget.

Screencap of text stating: You will only hear from Spencer Stuart consultants via their @SpencerStuart.com email addresses

You will only hear from Spencer Stuart consultants via their @SpencerStuart.com email address. I suspect I almost fell for a scam tactic that is commonly known as pig butchering. You butter up a mark, get as much personal information from them as you can, and either ask for money or try to use that information illicitly. I replied one last time to “Polly” after 11pm yesterday evening.

Please explain why you are not using an email address as described in this screencap.

It will shock none of you to learn that it’s been almost fifteen hours and she hasn’t replied. So, what’s the lesson here? Make sure the person you’re replying to is really who they say they are, and check the website of the company they’re claiming to represent for clear red flags such as their email policy. Would have saved me a bit of time that would better serve legitimate voice & composer projects. Oh well, at least I got this nifty little article out of it! Oh, and I made sure to report “Polly” to LinkedIn for impersonation.

If you appreciate my work, please consider supporting me directly at http://www.buymeacoffee.com/dwr1967 — Thanks for reading!