The music being good is the entry requirement, not the achievement. I've talked with composers ten albums deep who couldn't understand why their career wasn't moving. The answer was rarely about the music. It was about everything that comes after it.

There's a version of sync licensing advice that gets passed around a lot. It's well-intentioned, generally accurate, and built almost entirely around studying the placements of artists who will never be in your situation. Sia. M83. The Black Keys. The Cinematic Orchestra. These are instructive examples if you're trying to understand why a piece of music works in a scene. They're not particularly useful if you're trying to build a production music catalog as a long-term business.