The Composers Diversity Collective has been recognized with this year’s World Soundtrack Awards Industry Award. As part of the Music Days at Film Fest Ghent, key members participated in a panel to discuss their initiatives and the pressing issues surrounding diversity in the industry.
Panelists included founder Michael Abels (“Get Out”) along with co-presidents Sandro Morales-Santoro (“Venom’s Secret Files”) and Amritha Vaz (“They Charge for the Sun”).
The WSA Industry Award honors individuals and organizations that have made significant contributions to the film music realm. The mission of the CDC is to dismantle barriers that hinder the discovery of “culturally diverse music creators, sound engineers, composers, and musicians,” aiming to enhance mutual awareness and challenge misconceptions about the stylistic abilities of minority composers.
Upon being named this year’s award recipients, Abels expressed that it was a “huge honor” to be featured in Ghent. “The World Soundtrack Awards have shown great courage in making this acknowledgment. We aspire to be a resource and a community, so gaining international recognition aligns perfectly with our goals.”
Abels reminisced about the founding days of the collective, noting how he felt “thrust into the music world” following the success of his initial score for Jordan Peele’s acclaimed “Get Out.” He remarked, “At events, I often found myself among a scarce number of individuals who resembled me, and we would connect with a glance, sharing an unspoken understanding. We decided to create a designated time and place for gatherings, expecting maybe 10 people to show up, only for 50 to attend. This indicated a significant demand for community and belonging, and that was the foundation from which we grew.”
Vaz shared this sentiment, reflecting on the desire to “see ourselves represented in one another.” She also highlighted another critical reality faced by people of color in the industry: “We frequently heard statements like, ‘We’d love to hire a person of color, but there just aren’t any composers available.’ This motivated us to develop a directory since we recognized the impressive array of diverse backgrounds among composers. It became essential to raise awareness about our existence, not only among ourselves but also within the broader industry.”
Morales-Santoro, who immigrated from Venezuela, shared how he once believed that his aspiration to score films was “impossible” until he witnessed Argentinian composer Gustavo Santaolalla achieve back-to-back Oscars for his outstanding scores. This inspired him to believe that someone with a background like his could succeed in the industry. However, he lamented that two decades later, it remains challenging to find composers like him working on major studio films—an unfortunate reality.”
A recurring topic during the discussion was the sense of regression felt by composers of color over the past year regarding diversity initiatives. “In the last decade, there appeared to be greater opportunities for non-mainstream stories to be told,” Abels remarked. “Yet recently, the cultural landscape seems to be shifting. The number of projects being greenlit appears to be dwindling. This sentiment extends beyond the composing community, reflecting a broader notion that diversity and inclusion carry less weight today than they did a decade ago, which is both frustrating and disheartening.”
Vaz further noted that composers often find themselves excluded from diversity and inclusion-focused projects that emphasize on-screen representation, with behind-the-scenes contributions frequently overlooked. “Even projects intentionally seeking representation, such as ‘Crazy Rich Asians,’ featured a composer who wasn’t of Asian descent,” she pointed out. “Likewise, in the live-action adaptation of ‘Mulan,’ we found ourselves sidelined once more. Our behind-the-scenes presence isn’t often acknowledged as it should be.”
On the challenges of advocating for diversity during Trump’s administration in the U.S., Morales-Santoro described it as “challenging.” He said, “The political landscape often mirrors cultural shifts within the country. Nevertheless, our mission remains steadfast. We combat for the spaces we’ve carved out and strive to effect lasting change that transcends political leadership. In the past decade, we’ve brought many talented composers into the industry. We see members like Amanda Jones achieving commendable works such as ‘Murderbot’ and Michael Abels contributing to ‘Star Wars.’ It truly is remarkable.”
“We recognize that studios often sidestep risk, which is somewhat understandable given the financial stakes involved,” he continued. “However, when risks are embraced and budgetary resources are allocated to outstanding creatives, extraordinary outcomes can emerge. Avoiding these risks leads to a recurring cycle of hiring the same limited group of composers repeatedly. While the creative talent pool is indeed diverse, the names attributed to the creations remain uniform, overshadowing the diverse talent emerging from below these credits.”
Vaz echoed this sentiment, stating that “studios aren’t doing anyone any favors.” She emphasized, “They seek excellence and smooth operations, aiming for successful outcomes. Anyone who reaches that level certainly deserves their place. The concept of a diversity hire can insidiously suggest that individuals from non-mainstream backgrounds are not entitled to such roles. It’s essential to acknowledge that the number of us in TV and film remains quite minimal, and we still have a long journey ahead before diversity hires become a reality worth celebrating.”
