GHENT (10 July 2002). To celebrate the 75th anniversary of mechanical sound in film, composers and film music professionals from around the world are to gather in Ghent to discuss the current state of film music and to look at the future of their profession. This while emerging film music talent and established composers will get together to discuss working methods and careers.
Composers and film music professionals from around the world will gather at the Ghent Opera House for the Flanders Film Music Seminar on 17 and 18 October. The seminar is aimed at composers and directors, music and film students, film music professionals, as well as to all those true enthusiasts who are interested in getting to know more about film scoring.
Following the Friday morning keynote speech by Arthur Hamilton, of the Academy of Motion Picture Arts and Sciences, a two-part session will be looking at both artistic and professional aspects related to film music. The sessions will investigate where film music stands today, after 75 years of mechanical sound. How does the future look for film music and composers in terms of opportunities, challenges and dangers (piracy, MP3, DVD, etc.)? Will the role of the film composer change in the next quarter century? How to increase public awareness for film scores and their composers? Etc.
Major efforts will also go to creating a platform for young talent (both music students and composers) to meet up with established composers. The Wednesday afternoon session is entirely devoted to the question ‘How to get a head start in film scoring?’ and will attempt to come up with answers to frequently asked questions such as: What are the right moves to penetrate the film music sector, or how important is it to develop creative partnerships with filmmakers? A Q&A will conclude the afternoon program.
Already confirmed panelists include Marilyn Bergman (President and Chairman of the Board of the American Society of Composers, Authors and Publishers (ASCAP, US)), Emmanuel Chamboredon (executive Milan Records (F)), George Fenton (composer (UK): Anna And The King, You’ve Got Mail, The Navigators, The Fisher King, Groundhog Day, Bread and Roses, a.o.), Arthur Hamilton (composer and music director of the Academy of Motion Picture Arts and Sciences (US)), Martine Huvenne (musicologist and music teacher specialized in film scoring (B)), David Julyan (composer (UK): Following, Memento, Insomnia, a.o.), Nancy Knutsen (Senior Vice President of Film and Television Repertory at ASCAP (US)), Jean-Claude Petit (composer (F): Jean de Florette, Manon des sources, Cyrano de Bergerac, Le hussard sur le toît, Lumumba, a.o.), John Powell (composer (UK/US): Face/Off, Antz, Chicken Run, I Am Sam, Shrek, Pluto Nash, a.o.), Maggie Rodford (Managing Director of soundtrack supervision and music publishing company Air-Edel (UK)), Jeff Rona (composer (US): White Squall, The In-Crowd, Exit Wounds, The Mothman Prophecies, a.o.), Charles Ryan (President of the Ryan Company (US)), Peter Vermeersch (composer (B): Vinaya, Minoes, a.o.) + representatives of SABAM, IFPI, etc.
Surrounding the seminar are a number of film music events organized within the framework of the 29th Flanders International Film Festival: ‘Elle! Louise Brooks’, ‘As Time Goes By’ and ‘Fenton-Delerue: A Film Music Celebration’ that also includes the presentation of the 2002 World Soundtrack Awards.