Nordic Film Music Days

CREATING SCORES

Saturday February 12th
SEMINARS noon - 4 pm CET

Meet the composers
hear the music
learn about the craft

Nordic Film Music Days 2022 is once again back in Berlin. From the Felleshus of Nordische Botschaften we will stream two days of seminars, award show and screenings.

As we are not able to meet up physical in Berlin, the Nordic countries will - in case the restrictions allows - offer a possibility of meeting up with your fellow composers or co-creators.

If you want more information and an invitation to a possible hub you can contact the national coordnators below.

Please be aware that we are following the national recommondations.

DANISH HUB

FINNISH HUB

ICELANDIC HUB

NORWEGIAN HUB

SWEDISH HUB

PRESENTATION AND TALK
creating the score = creating the film

noon - 2:00 pm

Meet the nominated composers and hear about the early collaboration between composer and director.
4 of our 5 nominees have for this score been part of the creative process from the very early point of making the film.
In this seminar with all 5 nominees we will stress one of the main ambitions of NORDIC FILM MUSIC DAYS : highlighting the creative power of the Nordic composers.

A rare opportunity to get insight knowledge and ask your own questions about the work of a score composer.

Moderated by Halfdan E (DK)

Halfdan has scored in excess of 25 features and 7 tv series. Most recent credits include scores for the Netflix Original series Ragnarok (2020), crime series Below The surface II (2019), Finnish feature Ihmisen Osa (2018) and the ever popular Danish series Badehotellet, which broadcasts to huge audiences in all the Nordic countries and is now in its 7th season.
Halfdan first burst onto the international market with his music for all 3 seasons of political drama Borgen. - a series that ignited a global hunger for Scandinavian influenced drama and is still screened all over the world.

Halfdan is also the chairman of the Danish Guild of Media Composers BFM, and back in 2006 he was initiating the Nordic Film Composers Network

DENMARK | Jonas Struck for his score for “Vores mand i Amerika” (directed by Christina Rosendahl)

*** An excellent and personal film score - inventive and different***

Video by Tine Louise Kortermand

FINLAND | Sanna Salmenkallio for her score for “Aalto” (directed by Virpi Suutari)

***Surprise, elegance and a strong sense of purpose are present from start to finish, Salmenkallio’s music really gives life to this great documentary***

Video by Jussi Rekiaro Photography

ICELAND| Tóti Guðnason for his score for “Lamb” (directed by Valdimar Jóhannsson)

*** the score and the sound design exert a subtle pressure that words would be unlikely to match ***

Video by Blair Alexander

NORWAY | Erik Ljunggren for his score for “Gritt” (directed by Itonje Søimer Guttormsen)

*** the score plays an important role in this film, for coherence, direction and overall tone, and for weaving together the layers of the drama. ***

Video by Catharina Natalie Wandrup

SWEDEN | Johan Testad for his score for “Björnstad” (directed by Peter Grönlund)

*** the score heightens the intensity of a multifaceted drama that holds great contrast: toxic macho culture, peer pressure, loneliness, vulnerability and longing ***

Video by Omnivox

DIY & PRESENTATION
Soundtracks, their importance as a calling card for composers and how to prepare and release them

2 - 2:30 PM

We know the films and we know the music. Even though our inner cinema starts playing when the theme for a certain film or tv-series are played the music is also made to be heard – without the pictures.
The scores made by Nordic composers are often of such high quality, that they easily can have a life of their own. As temp-tracks, as music in other medias or just to be enjoyed by happy listeners. Thereby they can act as an appealing calling card for the composers.
In this conversation between Mikael Carlsson and Jesper Hansen we will try to address the importance of the soundtracks. How big is their effect? And how can you increase that effect?

As a filmcomposer Jesper Hansen (DK) has done the scores for tv-series, shorts and documentaries. Besides his work as composer Hansen is part of the chair of the Danish Film and Media composers and the European commitee for film and mediamusic, FFACE.
Together with Halfdan E he has founded the record label, plant sound - the main goal is to release and showcase Danish film music world wide.

https://plantsounds.net/

Since the launch of his soundtrack label, MovieScore Media, in 2005, Mikael Carlsson (SE) has produced over 500 score albums. He is best known for nurturing the careers of up and coming composers and was the first to release albums by current A-listers Benjamin Wallfisch and Daniel Pemberton. Among other composers he worked with are Dario Marianelli, Angelo Badalamenti, Marco Beltrami, Patrick Doyle and Mark Isham. Mikael is also a composer in his own right, primarily of choral music, a concert producer and an arranger of film music suites for concert use. He is the honorary president of the International Film Music Critics Association.

https://moviescoremedia.com

Agreements and the Workflow of productions: Composing and Music Supervision

2:45 - 3:15 PM

As a composer for film and television one will come across all kinds of legal and practical obstacles. Some of which could be seen as opportunities if they are approached in the right way.
In this conversation with Ida-Lee Brandel, music supervisor and sync manager, renowned composer Jean-Paul Wall talks about the workflow of a composer, both from a creative and a contractual agreement stand point.
We will go through an overview of the work flow of productions to determine what contractual agreements that might be needed and what to think of when it comes to using music that are sourced elsewhere.

Jean-Paul Wall's (SE) recent works ncludes “Spinning Man” (2018), with Guy Pearce and Pierce Brosnan. He delivered music and advice as a music supervisor for the American horror movie ”Trick” (2019), directed by Patrick Lussier and the same year we also heard his music for the Greek director, Syllas Tzoumerkas feature movie ”The Miracle of the Sargasso Sea”, which opened at the Berlinale 2019.
Now we can hear his music in the American thriller ”The Requin” (2022) directed by Le-Van Kiet. A thriller about a couple on a romantic getaway find themselves stranded at sea when a tropical storm sweeps away their villa. In order to survive, they are forced to fight the elements, while sharks circle below.

Ida-Lee Brandel has worked over 10 years behind the music and currently works for FST, the Swedish Society of Composers and as an independent music supervisor with composers Frid & Frid as well as Sync Manager for Cosmos Music Group. Credits include TV-series ”Sommaren 85” (2020) and the feature length film ”Pleasure” (2021).

DSM article 18-23
New legislation = new opportunities

3:30- 4:00pm

During 2019 the EU adopted a new copyright directive and now we are facing the implementation of Articles 18-23
We are pleased to see that there is an increasing demand for Nordic compositions at, among others, the major American producers. However, we also see that foreign producers want to force U.S. copyright practices down on film composers: they want Danish fees, but American rights, or – as a lawyer puts it – 'they have copyed an American contract but forgotten the American fee'.

In this conversation Koda's senior legal advisor, Kaspar Lindhardt (DK) and chairman of Skap Alfons Karabuda will take os through the copyright directive and its implecations for Nordic composers.

What does it mean, when we are talking about:

remuneration principle (art.18);
transparency obligation (similar to audit rights) (art.19);
“best-seller” clause) (art.20);
dispute resolution mechanism (art.21);
revocation right (art.22); and
a specific ban on contractual overrides such that certain of these provisions (arts 19, 20 and 21) are considered to be of a mandatory nature (art.23).

Alfons Karabuda (SE)
With more than 30 years’ experience from the music industry, Alfons is an integral profile and driving force within the world of music. His current engagements are wide spreading across the international music industry, with him also being the president of the International Music Council, the European Composer and Songwriter Alliance and the Internet Media Foundation, as well as Executive chairman of Skap (the Swedish Association of Composers, Songwriters & Lyricists) and expert in the field of artistic rights to the UN Human Rights Council.
In addition, he serves as member of the executive committee of STIM (The Swedish Performing Rights Society), KLYS (the Swedish Joint Committee for Artistic and Literary Professionals), chairman of Musiksverige (Music Sweden), and member of the board of Directors of The Royal College of Music in Stockholm, the Global Node Stockholm and the Global Music Vault.

Kaspar Lindhardt (DK)
As a part of Koda’s legal team, Kaspar is working with general copyright issues and closely monitoring both the national and international legal developments.

Host Haldan E (DK)

Host Kaisa Rönkkö (FIN).

Last years winner Flemming Nordkrog

INTERNATIONAL JURY 2022

Flemming Nordkrog (DK)
Composer and HARPA winner 2021

Lucy Bright (UK)
Music Supervisor and Publisher (Bright Notion Music)

Mark Siegmund (KR/DE)
production & location manager and coordinator for international and Korean productions

Miriam Cutler (USA)
Film- and mediacomposer

Thomas Van Parys (BE)
Music Office, Film Fest Ghent & World Sound Track Awards

SCREENINGS OF THE NOMINATED FILMS .
SUNDAY February 13th
PROGRAM AVAILABLE TUESDAY FEBRUARY 1ST

The Nordische Botschaften are of course following the local directions for COVID 19

It will also be possible to watch the films through our website
registration link will be available from February 1st