Angela Little

Angela Little is a screen composer with a wide range of industry experience. Her first big break into film composition came the year after completing her studies in screen music at the Australian Film, Television & Radio School when Baz Luhrmann heard her work and asked Angela to join the music team on his film Australia.

Over the past nine years, she has composed music for documentaries (including AACTA-nominated feature documentary 'Zach's Ceremony'), miniseries, and feature films, including 'Chocolate Oyster', and the upcoming 'Back of the Net'. Last year Angela was a Top 5 Finalist in the Film & Television category of the APRA Professional Development Awards.

With the support of the Cultural Trust, Angela will head to Los Angeles to undertake a Masters of Music in Screen Scoring at the University of Southern California, after having been awarded the Sandra and Alan Silvestri Scholarship as the top-ranked worldwide applicant to the course. Widely regarded as the world's top screen scoring course, students undertake workshops and masterclasses in all genres and for all media, including numerous professionally recorded scoring sessions with up to 64 first-call orchestral players at Los Angeles' most prestigious recording studios, opportunities to collaborate on projects with upcoming filmmakers from USC's School of Cinematic Arts, and tutelage from composers, orchestrators, conductors, programmers, music supervisors, music editors, engineers who are top working professionals in the Los Angeles screen industry. Angela will also attend GameSoundCon to supplement her learning and increase her professional network in the emerging fields of music for gaming and augmented and virtual reality.

These exciting professional development programs will afford Angela opportunities that are currently unavailable in an Australian context, such as recording with large orchestras; and training, networking and conferences focused on various specialised facets of film scoring (e.g. scoring for games, virtual and augmented reality). Moreover, a year in the heart of the international film industry will no doubt yield a multitude of professional connections and networks that will prove invaluable to Angela’s career.

Ultimately the workshops and mentorships Angela will have the chance to pursue will assist her in achieving her aspiration to become a lead composer on internationally recognised screen projects. Given the fact that female film composers are historically very poorly represented in the screen composition industry, these opportunities will also be important in terms of Angela establishing herself as a strong advocate and role model for upcoming female composers within the screen composition community, in Australia and internationally.