As the World Soundtrack Awards (WSA) gears up for its 26th edition in Ghent, Belgium, the city cements its reputation as a pivotal hub for film scoring. This journey began in the 1980s when Film Fest Ghent embraced screen music, leading to the establishment of the World Soundtrack Academy and Awards by the turn of the millennium. Today, the WSA has evolved into a vital industry showcase, running concurrently with its parent festival, enhancing collaboration and dialogue within the realm of film music.
Enhanced Collaboration This Year
This year’s event, set for October 8-10, promises greater integration between filmmakers and composers, as noted by Film Fest Ghent program director Wim De Witte. Previously, WSA’s Film Music Days were held as the main festival wrapped up, attracting mainly film music aficionados. However, this year’s simultaneous scheduling aims to foster interactions that were previously limited.
Fostering Dialogue Between Music Creators and Filmmakers
Collaboration is a prevailing theme this year, sparked by the Belgian Oscar submission “Coward,” directed by Lukas Dhont. This musical, which explores the repression of emotions, brings key members of its music team to Ghent and serves as a catalyst for the evolution of the program, reflecting the desires of the WSA community.
De Witte reveals that composers have often struggled to communicate effectively with filmmakers, due to differing terminologies and expectations. To address this, the program includes two panels dedicated to fostering that dialogue. The first features Dhont alongside composer Valentin Hadjadj and music supervisor Pierre-Marie Dru, while the second includes director Edward Berger and his collaborator Volker Bertelmann. This setup highlights established partnerships and underlines the WSA’s goal of nurturing film music talent.
Opportunities for Networking and Collaboration
The event is designed not just for established professionals but also for emerging talents. With matchmaking and networking sessions for students included in the industry days, opportunities abound for budding composers and filmmakers to forge vital connections. A notable feature is Third Character, an annual film music market pairing composers with director-producer duos launching new projects. This initiative has already proven fruitful; Dhont and Hadjadj, for instance, first met at a 2013 Third Character session in France, forming a creative bond that continues to thrive.
A Tradition of Casual Camaraderie and New Challenges
De Witte underscores the importance of creating opportunities for collaboration, highlighting the success stories that emerge from previous interactions, such as director Jacqueline Lentzou’s partnership with musician Colin Stetson, which led to the Venice Horizons prize-winning film “A Day in the Life of Jo: Chapter Phaedra.”
Anticipation builds as WSA organizers believe that scheduling events earlier in the weekend will encourage greater industry attendance. However, with innovation comes the challenge of addressing contemporary concerns, such as the growing influence of artificial intelligence in the composition process. “While we aim to avoid redundant discussions on AI, it continually comes up in our conversations regarding industry focus,” De Witte explains. “It’s imperative to champion the role of human composers in music creation, especially to producers.”
The Unique Appeal of Ghent
The WSA remains committed to preserving the warm, welcoming atmosphere that sets Ghent apart as a crucial stop for global talent. De Witte shares, “Composers often mention they live close to each other in L.A. but rarely connect there. Ghent, however, serves as a meeting point, complemented by our local offerings of Belgian beer and chocolate.”
