Sounds Australia, in partnership with White Bear PR, is seeking expressions of interest from experienced and innovative US-based Australian screen composers to participate in a high-level, closed-door workshop in Los Angeles on Tuesday 10 March.
Successful applicants will participate in a full‑day, closed‑door masterclass led by Thomas Mikusz of White Bear PR, designed to refine and refresh their pitch while providing direct opportunities to connect, network, and present to the Los Angeles music supervisor community.
Following this session, Sounds Australia in partnership with the Guild of Music Supervisors will host a mixer at SqueakyClean Studios, where participants will showcase their reels and pitches to music supervisors prior to an exclusive networking event.
SUBMIT AN EXPRESSION OF INTEREST HERE
Expressions of interest close at 11:59pm AEDT on Thursday 29 January 2026. Successful applicants will be informed by Wednesday 11 February 2026.
The Screen Composer Workshop builds upon Sounds Australia’s previous activity with screen composers – notably, a trade mission to Los Angeles with ten Australian composers in 2024, and last year’s collaboration with the Melbourne International Film Festival which saw a delegation of acclaimed international screen music professionals travel to Australia to meet with composers in multiple cities.
Eligibility
All applicants/composers must be:
- Australian citizens residing in the USA.
- A composer member of APRA AMCOS.
Assessment Criteria
White Bear PR will assess all EOIs against the following criteria:
- Relative strength of the applicant’s existing experience and calibre of work.
- The significance of the artistic and commercial impact of commissioned work(s) across film, TV channels, production houses or similar.
- High evidence of composer’s work in screen media including:
- Films: Listing of movies or documentaries scored by the composer, with links to IMDb profiles or official film pages.
- Television: TV shows or series for which the composer has created music, with links to episodes or show websites.
- Advertising: Commercials or branded content scored by the composer, with links to videos or advertising campaigns.
- Other Screen Media: Any additional screen media (such as web series, VR experiences, etc.) featuring the composer’s work, with relevant links to the media.
- Examples of high-quality compositions, including any compositions suitable for sync licensing (include information about availability of tracks, instrumental versions and stems).
- Experience working with music supervisors, directors, and production companies.
Expectations for successful applicants
Successful applicants are expected to be available on Wednesday 4 March for a one-hour online briefing session and two full days across Tuesday 10 and Wednesday 11 March to participate in the workshop, final pitch session and networking.
Successful applicants will be responsible for all travel and accommodation costs.
Participants should be aware that the pitching component of the workshop will take place in a closed-door environment. Each composer will be expected to present their pitch to an group made up exclusively of industry experts, fellow participants, alongside a small number of invited composers who will attend as silent observers. This format is designed to provide a supportive, industry‑focused environment that encourages constructive listening, learning, and professional growth.
About Thomas Mikusz (White Bear PR)
In 2011 Thomas Mikusz co-founded White Bear PR, a Public Relations Company, specializing in Composers, Music Supervisors, Songwriters, Soundtrack Promotions and International Film Music Festivals.
He spearheaded several successful Award campaigns, including for Clément Ducol & Camille (Emilia Pérez), Volker Bertelmann (All Quiet on the Western Front), Hildur Gudnadóttir (Joker, Chernobyl), Germaine Franco (Encanto) and Carlos Rafael Rivera (The Queen’s Gambit, Lessons in Chemistry), to name just a few. Currently he works with Ed Sheeran & Blake Slatkin on Drive from F1, Simon Franglen (Avatar Fire & Ash), Anthony Willis (Wuthering Heights), and on the music for the films Sinners, Train Dreams and One Battle After Another.
In addition, he worked on the PR campaigns for the Academy Award-nominated Best Score and Best Original Song for Everything Everywhere All At Once and on the successful campaigns for Best Original Songs from Barbie (‘What Was I Made For’) and from Eurovision Song Contest: The Story of Fire Saga (‘Husavik’). He works with artists such as Jeremiah Freitas, Alex Somers, Ariel Marx, David Fleming, Amelia Warner, Emilie Levienaise-Farrouch, John Lunn, Trygge Toven, Daniel Hart, Dan Romer, Benjamin Wallfisch, Adam Blackstone, Electronic Arts Music, Disney Music Group and The Guild of Music Supervisors.
For the past seven years he served on the leadership of The Alliance for Women Film Composers, amplifying and supporting the work of women composers.