Sound and Vision Merge in SBIFF’s 10-10-10

The Santa Barbara International Film Festival (SBIFF), which will present its 42nd edition around the city February 4-14, has always been largely focused on cinematic interests and content from Hollywood and points global. Among its local sidebars, one of the most Santa Barbara–centric — and also deadline-driven — projects has been its 10-10-10 program, through which 10 selected young student filmmakers are commissioned to create 10-minute shorts, all within the 10 days of the festival.

As of 2026, the 10-10-10 program has gained a new and logical dimension with the addition of a Film Composer Program. The logical musical addition to the time-sensitive program came about through SBIFF head Roger Durling’s collaboration with project organizer Diego Ratto, a PhD candidate at UCSB, who explains that after discussing the pilot program, “we immediately felt this was fundamental, because music is such an important part of filmmaking.”

“We also agreed that, despite the importance of film to the city of Santa Barbara, there are currently no local colleges or universities offering a film, music, or music for media program,” he adds. “Many students studying music and composition would really benefit from this, and it could definitely attract even more students to the city.”

Heeding the core procedural concept of 10-10-10, a handful of student composers will be paired with filmmakers and bound by the strict production timeline. In Hollywood, arthouse, and indie cinema, film composers frequently confront cruel deadlines, often entering the process at the very end and having to deliver on an accelerated schedule.

“A lot of the time,” Ratto confirms, “composers do come in at the very end of the process and need to work extremely fast. But other times, when composers are fortunate enough to be involved earlier, there’s more room to explore and experiment, which often leads to more interesting results. With this program, I wanted to lean more toward the artistic side by pairing composers and filmmakers as early as possible.” 

Despite early collaboration, Ratto says composers still have just 15 days to complete, record, and mix their scores, “so they definitely need to work quickly.” He sees the program as a hybrid. “It includes real-world industry constraints, but within an educational context where the main goal is learning, building relationships with young filmmakers, and ideally growing together and continuing to collaborate in the future.” 

In terms of musical style and instrumental toolboxes, it’s an open proposition, subject to each creator’s instincts. He explains, “It really depends on the nature, genre, and style of each film. There are no rules.” Scores can use live instruments, electronic sounds, or a combination of both, with the main aim being to support and enhance the film’s story. “There are no limitations on what composers can do,” Ratto notes. “The goal is always to help tell the story of the film, with the music in service of the narrative — I think there will be a lot of interesting and very different scores, which is really exciting.”

Ratto himself, an Italian who studied jazz guitar, electronic music, and composition in Stockholm and elsewhere, came to Santa Barbara for the UCSB PhD program and has found himself more fascinated by film and media composing as a practice and career path. “Over the years,” he says, “I’ve worked extensively with experimental music, leading to performances at several international festivals. But film music has always been there.”

He grew up with Ennio Morricone’s music and Italian “old-good-cinema.” As he puts it, “moving to Santa Barbara and L.A. was definitely a way to connect more deeply with filmmakers and work as a film composer. My ambition is simply to work on good films, build strong creative and personal relationships with filmmakers, and create art for people.”

Ratto notes that this is especially relevant right now. “We need art more than ever — we need good movies that bring people together, build community, and keep something as meaningful as true cinema alive.”

When asked for a short list of his favorite film composers in the current cinema, he replies, laughing, “Well, apart from Morricone, of course? Among contemporary composers, I absolutely love [Radiohead bandmember] Jonny Greenwood. He has such a unique voice; apparently being in one of the greatest bands in history wasn’t enough. I’m also a big fan of Ludwig Göransson, Trent Reznor and Atticus Ross, and Tom Holkenborg. I love synths and electronic music. I’ve also really enjoyed recent work by Daniel Blumberg (The Brutalist), Jerskin Fendrix (Poor Things), Mica Levi (Under the Skin).”

Although 2026’s Film Composer Program is in test mode, with Ratto working closely with SBIFF Education Director Claire Waterhouse, he envisions future potential beyond the festival proper. 

As Ratto suggests, “I hope this program plants seeds for the development of formal Film Music programs at local colleges and universities in Santa Barbara. There’s clearly a lot of interest in music for media — film, video games, and beyond — and I hope this initiative helps raise awareness and opens the door to collaboration with other institutions in the community.”