‘Avatar: Fire and Ash’ Composer and More Speak Out About AI at Ghent’s WSA Film Music Days: ‘We Must Continue to Defend Our Art’

‘Avatar: Fire and Ash’ Composer and More Speak Out About AI at Ghent’s WSA Film Music Days: ‘We Must Continue to Defend Our Art’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 15, 2026 11:28pm PT ‘Avatar: Fire and Ash’ Composer and More Speak Out About AI at Ghent’s WSA Film Music Days: ‘We Must Continue to Defend Our Art’ By Ben Croll Plus Icon Ben Croll Latest ‘Joker’ Composer Hildur Guðnadóttir Confirms She’s Scoring Sarah Polley’s ‘The Bell Jar,’ Starring Billie Eilish 3 days ago ‘Project Hail Mary’ Composer Daniel Pemberton, ‘KPop Demon Hunters’ Songwriter EJAE Triumph at World Soundtrack Awards 5 days ago Lukas Dhont, Valentin Hadjadj Discuss ‘Coward’ Score, and Edward Berger, Volker Bertelmann Talk About Music for ‘The Riders,’ Starring Brad Pitt 2 weeks ago See All Add us as a Google Preferred Source Comments At a recent World Soundtrack Awards industry panel, composer Simon Franglen struck a common chord when talking about his work on “Avatar: Fire and Ash.” “We had hundreds of musicians in a room, pouring their emotion out in that precise second,” he recalled. “How can that ever be replicated by AI?” This year’s WSA Film Music Days, held Oct.

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8–10 in Ghent, Belgium, took aim at that very question, gathering the industry for three days of talks, roundtables and mixers addressing composers’ most pressing concerns. Related Stories What’s New on Netflix in October 2026 ‘The Watcher’ Season 2 to Begin Production 4 Years After Season 1 With Bobby Cannavale, Naomi Watts Returning Here are four takeaways from an event that proved composers needn’t play solo.

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Popular on Variety Strength in Numbers Labor structures are a hurdle. Unlike many other key creatives and department heads, composers in the U.S.

face legal barriers to unionizing and collective bargaining. The European Composer and Songwriter Alliance helps fill that gap, uniting national associations to lobby policymakers and guide young composers through contracts and negotiations.

Representing more than 30,000 composers and songwriters across 57 member organizations, ECSA had a strong presence in Ghent, hosting a roundtable before receiving this year’s WSA Industry Award. “There’s still a long way to go and a lot of work to do,” ECSA president Helienne Lindvall said in accepting the award.

“But one thing is clear: We have become a voice to be reckoned with, giving composers and songwriters a seat at the table. Because, as someone once said, if you’re not sitting at the table, chances are you’re on the menu.” Art vs.

AI To counter the growing threat of generative AI, ECSA is also pushing to shape the EU’s evolving AI Act around three core demands: AI companies must get permission before using copyrighted music to train generative models; creators must be fairly compensated for that use; and platforms must disclose which catalogs and datasets they use. “If we want to protect those at the heart of music creation, we must continue to defend the three fundamental principles of Authorization, Remuneration and Transparency,” Lindvall said.

“In other words, our art.” Platforms like AI music generator Suno make those demands all the more urgent. Lindvall had a blunt warning for musicians and composers curious about the technology.

“Read the terms of service,” she implored. “Anything you upload, even if you think, ‘I’ll just upload my music and see if they can come up with a guitar lick,’ you are giving them the right to use your music and exploit it commercially, without limitation, in perpetuity.” Star Track: The Next Generation For many panelists, AI’s short-term savings come at the expense of the next generation of composers.

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