What happens when legislation meets reality? That was the core question of this BMIM Special, where panelists Hans Everling, Nainita Desai and Marc du Moulin examined the growing pressure on composers’ rights. From buyouts to metadata and EU law, this session was a wake-up call for anyone writing music for screen.
Laws on paper, loopholes in practice
Marc du Moulin, Secretary General of ECSA, opened with a reality check. The 2019 EU Copyright Directive outlines protections for composers, including the right to fair remuneration and transparency. But in practice, these rights are frequently bypassed – especially under pressure from major streaming platforms.
Erosion of rights, clause by clause
Composer Nainita Desai shared her personal journey: ‘When I started, I kept 100% of my rights. That was the standard. Now, broadcasters and producers routinely claim the publisher’s share; something that used to be called simply “performance royalties”.’
Young talent, vulnerable position
Moderator Jesper Hansen asked the audience: ‘Who here always signs a contract before starting a project?’ Only a few hands were raised; proof of a troubling trend. Young composers, eager for work, often sign away their rights without proper representation.
Hans Everling (BCMM) underlined the importance of templates and collective bargaining. ‘Don’t try to do everything alone. Your local composer association can provide contract models, guidance, and support.’
The takeaway: get informed, don’t be naive
What can composers do right now? Educate themselves, talk to each other, and reach out to professional organizations. ‘Information is power,’ Du Moulin reminded the room. ‘And if you’re a European creator working on a European production, you shouldn’t be bound by US law. Full stop.’
Text by Meike Jentjens
Photos by Birgit Bijl