Fortress Talent Management, a leading agency for composers and music supervisors, has promoted Jake Kozarec to partner.
Kozarec has been with Fortress since 2016, and has overseen the careers of Lorne Balfe, Matthew Margeson, Jeff Cardoni (White House Plumbers), Keegan DeWitt, Jay Wadley, Robert Aiki Aubrey Lowe (Candyman), David Fleming and Alex Belcher.
Kozarec has played a key role in growing Fortress’ formidable roster, which includes Oscar-winners Howard Shore (Lord of the Rings), Gustavo Santaolalla (Brokeback Mountain), Mychael Danna (Life of Pi) and Rachel Portman (Chocolat) and Oscar nominees Nicholas Britell (Moonlight), Daniel Pemberton (Spiderman: Into the Spider-verse), Philip Glass (The Hours), Alberto Iglesias (Tinker Tailor Soldier Spy), Clint Mansell (The Fountain) and Owen Pallett (Her).
The company’s clients...
Kozarec has been with Fortress since 2016, and has overseen the careers of Lorne Balfe, Matthew Margeson, Jeff Cardoni (White House Plumbers), Keegan DeWitt, Jay Wadley, Robert Aiki Aubrey Lowe (Candyman), David Fleming and Alex Belcher.
Kozarec has played a key role in growing Fortress’ formidable roster, which includes Oscar-winners Howard Shore (Lord of the Rings), Gustavo Santaolalla (Brokeback Mountain), Mychael Danna (Life of Pi) and Rachel Portman (Chocolat) and Oscar nominees Nicholas Britell (Moonlight), Daniel Pemberton (Spiderman: Into the Spider-verse), Philip Glass (The Hours), Alberto Iglesias (Tinker Tailor Soldier Spy), Clint Mansell (The Fountain) and Owen Pallett (Her).
The company’s clients...
- 11/30/2023
- by Bruce Haring
- Deadline Film + TV
The Sun Valley Film Festival announced their 2023 award winners, with National Geographic’s Documentary “Wild Life” taking home the audience award, “Fancy Dance” winning best narrative and “Nascondino” earning the documentary feature film prize. The annual Idaho Awards Bash took place from March 29 to April 2 at Whiskey Jacques.
In addition to the film awards, the festival hosted a performance by Blair Gun and Variety honored this year’s 10 Producers to Watch. Other highlights include Josh Brolin receiving the Vision award, Emilio Estevez receiving the Pioneer award, Sophie Thatcher receiving the Rising Star award and Nina Yang Bongiovi receiving the Creative Impact Honoree in Producing.
Since 2012, each spring has brought another Svff celebration of groundbreaking new films and television premieres, with opportunities for filmmakers to connect with one another and find mentorship through industry panels, coffee talks and screenwriting workshops. Svff also works year-round to bring special projects to Sun Valley.
In addition to the film awards, the festival hosted a performance by Blair Gun and Variety honored this year’s 10 Producers to Watch. Other highlights include Josh Brolin receiving the Vision award, Emilio Estevez receiving the Pioneer award, Sophie Thatcher receiving the Rising Star award and Nina Yang Bongiovi receiving the Creative Impact Honoree in Producing.
Since 2012, each spring has brought another Svff celebration of groundbreaking new films and television premieres, with opportunities for filmmakers to connect with one another and find mentorship through industry panels, coffee talks and screenwriting workshops. Svff also works year-round to bring special projects to Sun Valley.
- 4/3/2023
- by Sophia Scorziello
- Variety Film + TV
Netflix’s official trailer for Outer Banks confirms season three will be the show’s most action-packed to date. The nearly three-minute trailer shows the Pogues are gearing up for what series creators and executive producers Jonas Pate, Josh Pate, and Shannon Burke call the granddaddy of all treasure hunts.
Season three stars Chase Stokes as John B., Madelyn Cline as Sarah Cameron, Madison Bailey as Kiara, Jonathan Daviss as Pope, and Rudy Pankow as JJ. Austin North plays Topper, Drew Starkey is Rafe, Carlacia Grant is Cleo, and Charles Esten stars as Ward Cameron.
The cast also includes Cullen Moss as Shoupe, Julia Antonelli as Wheezie Cameron, Caroline Arapoglou as Rose Cameron, E. Roger Mitchell as Heyward, Charles Halford as Big John, Elizabeth Mitchell as Limbrey, Andy McQueen as Carlos Singh, and Lou Ferrigno Jr as Ryan.
The 10-episode third season premieres on February 23, 2023.
Carole Sanders Peterman and Aaron Miller serve as producers,...
Season three stars Chase Stokes as John B., Madelyn Cline as Sarah Cameron, Madison Bailey as Kiara, Jonathan Daviss as Pope, and Rudy Pankow as JJ. Austin North plays Topper, Drew Starkey is Rafe, Carlacia Grant is Cleo, and Charles Esten stars as Ward Cameron.
The cast also includes Cullen Moss as Shoupe, Julia Antonelli as Wheezie Cameron, Caroline Arapoglou as Rose Cameron, E. Roger Mitchell as Heyward, Charles Halford as Big John, Elizabeth Mitchell as Limbrey, Andy McQueen as Carlos Singh, and Lou Ferrigno Jr as Ryan.
The 10-episode third season premieres on February 23, 2023.
Carole Sanders Peterman and Aaron Miller serve as producers,...
- 2/2/2023
- by Rebecca Murray
- Showbiz Junkies
“I have all kinds of little playlists and my secret weapon folder,” two-time Emmy nominated music supervisor Liza Richardson reveals about how she is often curating lists of left-field oddities, deep cuts and needle-drops. “I’m always judging,” she says. “I’m always asking myself, ‘is it good enough to survive being on my Spotify playlist?’ It has to be so good if I’m going to leave it on there. Does it have certain things that I’m looking for like a hook or a certain layer of sophistication or a certain layer of humor or irony?”
Richardson supervised all of the music featured in the HBO Max limited series “Station Eleven,” which is set in the aftermath of a fictional catastrophic pandemic that wipes out most of civilization. “I loved the group that I worked with. I mean, that’s a huge part for me. We had so much fun,...
Richardson supervised all of the music featured in the HBO Max limited series “Station Eleven,” which is set in the aftermath of a fictional catastrophic pandemic that wipes out most of civilization. “I loved the group that I worked with. I mean, that’s a huge part for me. We had so much fun,...
- 5/9/2022
- by Rob Licuria
- Gold Derby
Atx TV Festival, on Monday, revealed additional programming for its Season 11 lineup.
The annual television event, which will return for an in-person iteration in Austin, TX from June 2-5, will also spotlight Showtime’s I Love That For You, from Vanessa Bayer and Jeremy Beiler. Atx will feature an advance look at an upcoming episode and a conversation with Bayer, Beiler and showrunner Jessi Klein.
Also added to the lineup of panels is one spotlighting the showrunners of NBC’s Grand Crew, HBO’s A Black Lady Sketch Show and Peacock’s Rutherford Falls. Their respective showrunners Phil Augusta Jackson, Robin Thede and Sierra Teller Ornelas will join for the panel, where they will discuss the state of TV comedies, the art of running (and in sometimes starring in) the show, and how they’ve managed to break through the noise of too-much-tv. Additional panelists will be revealed at a later date.
The annual television event, which will return for an in-person iteration in Austin, TX from June 2-5, will also spotlight Showtime’s I Love That For You, from Vanessa Bayer and Jeremy Beiler. Atx will feature an advance look at an upcoming episode and a conversation with Bayer, Beiler and showrunner Jessi Klein.
Also added to the lineup of panels is one spotlighting the showrunners of NBC’s Grand Crew, HBO’s A Black Lady Sketch Show and Peacock’s Rutherford Falls. Their respective showrunners Phil Augusta Jackson, Robin Thede and Sierra Teller Ornelas will join for the panel, where they will discuss the state of TV comedies, the art of running (and in sometimes starring in) the show, and how they’ve managed to break through the noise of too-much-tv. Additional panelists will be revealed at a later date.
- 4/18/2022
- by Alexandra Del Rosario
- Deadline Film + TV
The Guild of Music Supervisors held its 12th annual awards ceremony virtually to celebrate outstanding achievement in the craft of music supervision in film, television, documentaries, games, advertising and trailers.
Mandi Collier took home two awards for her work on Sylie’s Love and Zola while the Oscar-nominated original song “Dos Oruguitas” from Encanto by Lin-Manuel Miranda won for Best Song Written and/or Recorded for a Film.
Legendary songwriter and record producer Diane Warren was presented with this year’s Icon Award and music supervisor Mitchell Leib took home the Legacy Award.
Tonight’s presenters included Hollywood luminaries such as Javier Bardem, Jessica Chastain, Lin-Manuel Miranda, Kristen Wiig, Annie Mumolo, Ryan Tedder, Marlon Wayans, Dave Burd aka Lil Dicky, Rickey Minor, Rufus Wainwright and more.
The 12th Annual Guild of Music Supervisors Awards was produced by President Joel C. High, Vice President Madonna Wade-Reed and former Gms President Thomas Golubić.
Mandi Collier took home two awards for her work on Sylie’s Love and Zola while the Oscar-nominated original song “Dos Oruguitas” from Encanto by Lin-Manuel Miranda won for Best Song Written and/or Recorded for a Film.
Legendary songwriter and record producer Diane Warren was presented with this year’s Icon Award and music supervisor Mitchell Leib took home the Legacy Award.
Tonight’s presenters included Hollywood luminaries such as Javier Bardem, Jessica Chastain, Lin-Manuel Miranda, Kristen Wiig, Annie Mumolo, Ryan Tedder, Marlon Wayans, Dave Burd aka Lil Dicky, Rickey Minor, Rufus Wainwright and more.
The 12th Annual Guild of Music Supervisors Awards was produced by President Joel C. High, Vice President Madonna Wade-Reed and former Gms President Thomas Golubić.
- 3/21/2022
- by Brandon Choe
- Deadline Film + TV
HBO’s ‘The White Lotus,’ ‘Lovecraft Country’ Take Top TV Honors at Guild of Music Supervisors Awards
The Guild of Music Supervisors held its 12th annual awards ceremony virtually on March 20.
Recognizing those who excel at the craft of music supervision in film, television, documentaries, games, advertising and trailers, the night’s big winners included HBO’s “The White Lotus,” supervised by Janet Lopez, who gave an impassioned acceptance speech, thanking the music makers of Hawaii for taking her call, and Liza Richardson for “Lovecraft Country” season 1. The Netflix film “Tick, Tick… Boom!,” supervised by Steven Gizicki, took home the prize for film budgeted over $25 million. Mandi Collier won twice for her work on “Sylie’s Love & Zola,” and “Dos Oruguitas” from “Encanto,” by Lin-Manuel Miranda and sung by Sebastian Yatra (and nominated for an Academy Award), won for best song written and/or recorded for a film.
Receiving special honors were Diane Warren (the Icon Award), for her numerous songs to soundtrack major films, and Mitchell Leib...
Recognizing those who excel at the craft of music supervision in film, television, documentaries, games, advertising and trailers, the night’s big winners included HBO’s “The White Lotus,” supervised by Janet Lopez, who gave an impassioned acceptance speech, thanking the music makers of Hawaii for taking her call, and Liza Richardson for “Lovecraft Country” season 1. The Netflix film “Tick, Tick… Boom!,” supervised by Steven Gizicki, took home the prize for film budgeted over $25 million. Mandi Collier won twice for her work on “Sylie’s Love & Zola,” and “Dos Oruguitas” from “Encanto,” by Lin-Manuel Miranda and sung by Sebastian Yatra (and nominated for an Academy Award), won for best song written and/or recorded for a film.
Receiving special honors were Diane Warren (the Icon Award), for her numerous songs to soundtrack major films, and Mitchell Leib...
- 3/21/2022
- by Shirley Halperin
- Variety Film + TV
The “Encanto” song “Dos Oruguitas” and the music supervision of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” have been honored at the 12th annual Guild of Music Supervisors Awards, which took place in a virtual ceremony on Saturday evening.
The music supervisors of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” won for the best supervision of a film at four different budget levels. Songwriter Lin-Manuel Miranda’s “Dos Oruguitas” from “Encanto” won in the Best Song Written and/or Recorded for a Film category, the only GMA category that corresponds to an Oscar music category.
Over the six years in which the guild has been giving out that award, the winner has gone on to take the Oscar only twice, with “City of Stars” from “La La Land” and “Shallow” from “A Star Is Born.
The music supervisors of “Zola,” “Sylvie’s Love,” “Barb and Star Go to Vista Del Mar” and “tick, tick…Boom!” won for the best supervision of a film at four different budget levels. Songwriter Lin-Manuel Miranda’s “Dos Oruguitas” from “Encanto” won in the Best Song Written and/or Recorded for a Film category, the only GMA category that corresponds to an Oscar music category.
Over the six years in which the guild has been giving out that award, the winner has gone on to take the Oscar only twice, with “City of Stars” from “La La Land” and “Shallow” from “A Star Is Born.
- 3/21/2022
- by Steve Pond
- The Wrap
The Guild of Music Supervisors released on Thursday the nominees for the group’s 12th annual awards ceremony, honoring music supervisors in film, television, advertising and video games.
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
- 2/11/2022
- by Ross A. Lincoln
- The Wrap
The Guild of Music Supervisors today unveiled the nominees for its 12th annual award ceremony, celebrating outstanding achievement in the craft of Music Supervision in film, television, games, documentaries, advertising, and trailers, with such notable songwriters and performers as Beyoncé, Jay-Z, Kid Cudi, Lin-Manuel Miranda, Eddie Vedder, Anderson .Paak, Bruno Mars, H.E.R. and Demi Lovato making the cut.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
- 2/10/2022
- by Matt Grobar
- Deadline Film + TV
Nominees for the 12th annual Guild of Music Supervisors (Gms) Awards have been revealed, recognizing the craft of music supervision in film, television, games, advertising and trailers.
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
- 2/10/2022
- by Jazz Tangcay
- Variety Film + TV
Music supervisors are now solely eligible to win the Emmy in their category, as part of rules changes announced today by the Television Academy. Previously, showrunners who contributed musical ideas to their shows were eligible too, and have won three times.
The new rules clarified entry requirements in the category. Emmys can only be awarded to the “credited music supervisor… A Music Supervisor’s on-screen credit must reflect their primary function as a music supervisor.” Additionally, music supervisors no longer need to upload their cue sheets with their submissions.
In the past, some shows have added the showrunner’s name to the entry as well. This rule modification paves the way for music supervisors to receive that sole recognition. Many in the music for screens community have voiced displeasure in the past with the co-credit allowance.
As Joel C. High, Guild of Music Supervisors (Gms) board member and president, stated...
The new rules clarified entry requirements in the category. Emmys can only be awarded to the “credited music supervisor… A Music Supervisor’s on-screen credit must reflect their primary function as a music supervisor.” Additionally, music supervisors no longer need to upload their cue sheets with their submissions.
In the past, some shows have added the showrunner’s name to the entry as well. This rule modification paves the way for music supervisors to receive that sole recognition. Many in the music for screens community have voiced displeasure in the past with the co-credit allowance.
As Joel C. High, Guild of Music Supervisors (Gms) board member and president, stated...
- 12/20/2021
- by Jazz Tangcay
- Variety Film + TV
1. “Cowboy Bebop” (available November 19)
Why Should I Watch? Calling the original anime “Cowboy Bebop” a cult classic doesn’t quite do justice to its impact on animation, television, and culture at large. Hajime Yatate’s neo-noir space western originally ran in the late ’90s, hopping across two Japanese TV networks to air its 26 episodes before becoming the first anime title to premiere on Adult Swim here in the States (circa 2001). Often referred to as a bridge for animation fans to invest in anime, as well as Western audiences to appreciate a medium originated in the East, “Cowboy Bebop” is also just a flat-out wild time. Bounty hunters are called cowboys, the Earth is practically uninhabitable, and space is the de facto travel frontier. Aboard the spaceship Bebop, a group of “cowboys” hunt down dangerous convicts for the right price, led by Spike Spiegel (John Cho), Jet Black (Mustafa Shakir), and...
Why Should I Watch? Calling the original anime “Cowboy Bebop” a cult classic doesn’t quite do justice to its impact on animation, television, and culture at large. Hajime Yatate’s neo-noir space western originally ran in the late ’90s, hopping across two Japanese TV networks to air its 26 episodes before becoming the first anime title to premiere on Adult Swim here in the States (circa 2001). Often referred to as a bridge for animation fans to invest in anime, as well as Western audiences to appreciate a medium originated in the East, “Cowboy Bebop” is also just a flat-out wild time. Bounty hunters are called cowboys, the Earth is practically uninhabitable, and space is the de facto travel frontier. Aboard the spaceship Bebop, a group of “cowboys” hunt down dangerous convicts for the right price, led by Spike Spiegel (John Cho), Jet Black (Mustafa Shakir), and...
- 10/31/2021
- by Ben Travers
- Indiewire
The Guild of Music Supervisors held their 11th annual awards virtually today, celebrating outstanding achievement in the craft of music supervision in film, television, documentary, games, advertising and trailers.
Quincy Jones received this year’s Icon Award while Maureen Crowe, the founding President of the Guild of Music Supervisors, accepted the Legacy Award.
Music legend Stevie Wonder made a surprise visit and gave a heartfelt tribute to the accomplishments of Jones.
Pop star Billie Eilish and her brother, Finneas O’Connell, made a cameo appearance to present an award at today’s teleconference show.
The complete winners list for the 11th Annual Guild of Music Supervisors Awards is listed below.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Tom MacDougall – Soul *Winner*
Jonathan Leahy – Bill & Ted Face The Music
Becky Bentham – Eurovision Song Contest: The Story of Fire Saga
Julia Michels – Jingle Jangle: A Christmas Journey
Angela Leus – Trolls World...
Quincy Jones received this year’s Icon Award while Maureen Crowe, the founding President of the Guild of Music Supervisors, accepted the Legacy Award.
Music legend Stevie Wonder made a surprise visit and gave a heartfelt tribute to the accomplishments of Jones.
Pop star Billie Eilish and her brother, Finneas O’Connell, made a cameo appearance to present an award at today’s teleconference show.
The complete winners list for the 11th Annual Guild of Music Supervisors Awards is listed below.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Tom MacDougall – Soul *Winner*
Jonathan Leahy – Bill & Ted Face The Music
Becky Bentham – Eurovision Song Contest: The Story of Fire Saga
Julia Michels – Jingle Jangle: A Christmas Journey
Angela Leus – Trolls World...
- 4/12/2021
- by Brandon Choe
- Deadline Film + TV
“Soul,” “Ma Rainey’s Black Bottom,” “Promising Young Woman,” and “The Trial of the Chicago 7” were the big film winners Sunday at the 11th annual Guild of Music Supervisors Awards.
“Soul” took best supervision for a film budgeted over $25 million, “Ma Rainey’s Black Bottom” for under $25 million, “Promising Young Woman” for under $10 million, “The Cuban” for under $5 million, and “Hear My Voice” took best song honors from “The Trial of the Chicago 7.”
In TV, “Watchmen” won for drama and best song (“The Way It Used To Be”), “To All the Boys: P.S. I Still Love You” scored for movie, and there was a three-way tie for comedy or musical split between “High Fidelity,” “Insecure,” and “The Marvelous Mrs. Maisel.”
The documentary awards went to “Crip Camp” and the docuseries “The Last Dance.”
In addition, the legendary Quincy Jones won the Icon Award and was paid a lovely tribute by Stevie Wonder,...
“Soul” took best supervision for a film budgeted over $25 million, “Ma Rainey’s Black Bottom” for under $25 million, “Promising Young Woman” for under $10 million, “The Cuban” for under $5 million, and “Hear My Voice” took best song honors from “The Trial of the Chicago 7.”
In TV, “Watchmen” won for drama and best song (“The Way It Used To Be”), “To All the Boys: P.S. I Still Love You” scored for movie, and there was a three-way tie for comedy or musical split between “High Fidelity,” “Insecure,” and “The Marvelous Mrs. Maisel.”
The documentary awards went to “Crip Camp” and the docuseries “The Last Dance.”
In addition, the legendary Quincy Jones won the Icon Award and was paid a lovely tribute by Stevie Wonder,...
- 4/12/2021
- by Bill Desowitz
- Indiewire
Oscar contenders “Ma Rainey’s Black Bottom,” “Promising Young Woman” and Pixar’s “Soul” triumphed in their respective categories at the 11th Annual Guild of Music Supervisors Awards.
The ceremony celebrating outstanding achievement in the field of music supervision was held virtually, honoring the unsung heroes of film, television, documentaries, games, advertising and trailers. Despite not being recognized by AMPAS, the wins helped shine a spotlight on the music supervisors who contributed to Academy Award nominated films.
Tom MacDougall snagged best music supervision for film budgeted over $25 million for “Soul”, while the award for under $25 million went to Dawn Sutter Madell for her work on “Ma Rainey’s Black Bottom.” Billie Eilish and Finneas made a surprise appearance to present Best music supervision for film budgeted under $10 million to Susan Jacobs for “Promising Young Woman.”
In the television category, the best music supervision for a television comedy or musical award resulted in a three-way tie,...
The ceremony celebrating outstanding achievement in the field of music supervision was held virtually, honoring the unsung heroes of film, television, documentaries, games, advertising and trailers. Despite not being recognized by AMPAS, the wins helped shine a spotlight on the music supervisors who contributed to Academy Award nominated films.
Tom MacDougall snagged best music supervision for film budgeted over $25 million for “Soul”, while the award for under $25 million went to Dawn Sutter Madell for her work on “Ma Rainey’s Black Bottom.” Billie Eilish and Finneas made a surprise appearance to present Best music supervision for film budgeted under $10 million to Susan Jacobs for “Promising Young Woman.”
In the television category, the best music supervision for a television comedy or musical award resulted in a three-way tie,...
- 4/12/2021
- by Jazz Tangcay
- Variety Film + TV
The music supervisors for “Soul,” “Ma Rainey’s Black Bottom” and “Promising Young Woman” won awards at the 11th annual Guild of Music Supervisors Awards, which took place in a virtual ceremony Sunday evening.
Tom MacDougall won for “Soul” in the Best Music Supervision for Film Budgeted Over $25 Million category. Dawn Sutter Madell won for “Ma Rainey” in the category for films under $25 million, Susan Jacobs won for “Promising Young Woman” for films under $10 million and Dondrea Erauw won for “The Cuban” for films budgeted under $5 million.
Daniel Pemberton and Celeste’s Oscar-nominated song “Hear My Voice” from “The Trial of the Chicago 7” won in the Best Song Written and/or Recorded for a Film category, in which it was not competing against any of the other Oscar song nominees.
In the television categories, winners included the music supervisors of “Watchmen,” “High Fidelity,” “Insecure,” “The Marvelous Mrs. Maisel,” “The Masked Singer...
Tom MacDougall won for “Soul” in the Best Music Supervision for Film Budgeted Over $25 Million category. Dawn Sutter Madell won for “Ma Rainey” in the category for films under $25 million, Susan Jacobs won for “Promising Young Woman” for films under $10 million and Dondrea Erauw won for “The Cuban” for films budgeted under $5 million.
Daniel Pemberton and Celeste’s Oscar-nominated song “Hear My Voice” from “The Trial of the Chicago 7” won in the Best Song Written and/or Recorded for a Film category, in which it was not competing against any of the other Oscar song nominees.
In the television categories, winners included the music supervisors of “Watchmen,” “High Fidelity,” “Insecure,” “The Marvelous Mrs. Maisel,” “The Masked Singer...
- 4/12/2021
- by Steve Pond
- The Wrap
Nominees for the 11th Annual Guild of Music Supervisors (Gms) Awards have been revealed. Recognizing the craft of music supervision in film, television, games, advertising and trailers, previous winners have included such top-of-their-field music supervisors as Mary Ramos (“Once Upon A Time In Hollywood), Robin Urdang (“The Marvelous Mrs. Maisel”) and Kier Lehman (“Queen & Slim”).
Among the film nominees for the 2021 edition of the Gms Awards, which was pushed to April in order to align with the rescheduled Oscars, are frontrunners like “Ma Rainey’s Black Bottom,” “Soul” and “Promising Young Woman.” Television shows that scored nods include “Watchmen,” “Better Call Saul” and “The Marvelous Mrs. Maisel.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Quincy Jones will receive the Icon Award. Maureen Crowe, the founding president of the Guild, will receive the organization’s prestigious Legacy Award.
Among the film nominees for the 2021 edition of the Gms Awards, which was pushed to April in order to align with the rescheduled Oscars, are frontrunners like “Ma Rainey’s Black Bottom,” “Soul” and “Promising Young Woman.” Television shows that scored nods include “Watchmen,” “Better Call Saul” and “The Marvelous Mrs. Maisel.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Quincy Jones will receive the Icon Award. Maureen Crowe, the founding president of the Guild, will receive the organization’s prestigious Legacy Award.
- 2/25/2021
- by Jazz Tangcay
- Variety Film + TV
Last summer, Liza Richardson read the script for the first episode of Lovecraft Country, and she tried to wrap her head around how she might choose music for the show.
“I could tell how unique it was,” the veteran music supervisor says. The series, which is set in 1955, stars Jonathan Majors as Atticus Freeman. In the first episode, he — along with Uncle George (Courtney B. Vance) and his childhood friend Leti (Jurnee Smollett) — takes a journey across Jim Crow America in search of his father, uncovering monsters both fictional and very real.
“I could tell how unique it was,” the veteran music supervisor says. The series, which is set in 1955, stars Jonathan Majors as Atticus Freeman. In the first episode, he — along with Uncle George (Courtney B. Vance) and his childhood friend Leti (Jurnee Smollett) — takes a journey across Jim Crow America in search of his father, uncovering monsters both fictional and very real.
- 9/19/2020
- by Patrick Doyle
- Rollingstone.com
This year’s Emmy nominees in the seven music categories include such familiar scoring names as Ludwig Göransson, Pinar Toprak, Nicholas Britell, Mark Isham and Trent Reznor & Atticus Ross as well as figures from the pop world like Pharrell Williams, Dawes’ Taylor Goldsmith, Ingrid Michaelson, Sheila E and the RZA.
Labrinth joined Reznor and Ross in being nominated in both song and score categories. The latter Nine Inch Nails members (and Oscar winners for “The Social Network”) are up for scoring “Watchmen” as well as contributing an original 1940s-themed song (“The Way It Used to Be”) to the HBO limited series. Labrinth’s two noms are for Showtime’s “Euphoria,” which earned him both a series dramatic score nomination and a song nod (“All for Us”).
Nathan Barr has the most nominations in the music categories, with three. He’s up against himself in the main title theme category,...
Labrinth joined Reznor and Ross in being nominated in both song and score categories. The latter Nine Inch Nails members (and Oscar winners for “The Social Network”) are up for scoring “Watchmen” as well as contributing an original 1940s-themed song (“The Way It Used to Be”) to the HBO limited series. Labrinth’s two noms are for Showtime’s “Euphoria,” which earned him both a series dramatic score nomination and a song nod (“All for Us”).
Nathan Barr has the most nominations in the music categories, with three. He’s up against himself in the main title theme category,...
- 7/28/2020
- by Chris Willman
- Variety Film + TV
The 2020 Emmy ballots have been released by the Television Academy, so we now know which shows, actors, etc. are in contention for this year’s golden statues. HBO’s “Watchmen” accounts for eight entries on the performer ballot, including lead actors Regina King and Jeremy Irons. The uniquely timely limited series about mask-wearing and racial injustice is a loose adaptation of the 1980s comic book about vigilante superheroes, which only lasted a single volume. Tour our photo gallery above to see all of the actors who’ve been submitted for the 2020 Emmy Awards.
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
- 7/11/2020
- by Marcus James Dixon
- Gold Derby
A great needle drop might get a few people tapping their feet, but rarely does one turn so many heads. “Watchmen” Episode 2 did just that, when it ended with an unprecedented-yet-highly significant song choice: “Egg Man” by the Beastie Boys. Given the show’s cheeky sense of humor, the track’s eponymous implications made sense; eggs are a prominent theme of the HBO series, from its beginnings until the very last shot. But anyone familiar with the rebellious rap group knows its members are very, very selective about allowing their music to be used in popular entertainment, and the question that sent viewers’ heads spinning was: “How did ‘Watchmen’ land the holy grail of song licensing?” The short answer is Liza Richardson. The long answer is — like the award-winning music supervisor’s entire job — much more complicated. “Watchmen” showrunner Damon Lindelof admitted “Egg Man” was always his choice to close out the episode,...
- 7/8/2020
- by Ben Travers
- Indiewire
The Guild of Music Supervisors has unveiled its summer panel series lineup featuring many of the top musical tastemakers and composers working across television and streaming platforms today.
The first panel kicks off with music supervisors from HBO’s lineup: Kier Lehman from “Insecure,” Jen Malone from “Euphoria,” Liza Richardson from “Watchmen” and Blake Leyh from “The Plot Against America.” Guild founding member Jonathan McHugh will moderate the panel on June 11. Register here.
June 18’s panel focuses on the working relationships of composers and music supervisors on Apple TV Plus shows. Moderated by Variety Artisans Editor Jazz Tangcay, speakers include Zach Cowie and Michael Brook (“Little America”), DeVoe Yates, Ian Hultquist and Sofia Hultquist (“Dickinson”) and Liza Richardson and Carter Burwell (“The Morning Show”). Register here.
The Netflix panel on June 25 looks at the diverse offerings of shows where music features as a character. Matt Biffa of “Sex Education,” Nora Felder...
The first panel kicks off with music supervisors from HBO’s lineup: Kier Lehman from “Insecure,” Jen Malone from “Euphoria,” Liza Richardson from “Watchmen” and Blake Leyh from “The Plot Against America.” Guild founding member Jonathan McHugh will moderate the panel on June 11. Register here.
June 18’s panel focuses on the working relationships of composers and music supervisors on Apple TV Plus shows. Moderated by Variety Artisans Editor Jazz Tangcay, speakers include Zach Cowie and Michael Brook (“Little America”), DeVoe Yates, Ian Hultquist and Sofia Hultquist (“Dickinson”) and Liza Richardson and Carter Burwell (“The Morning Show”). Register here.
The Netflix panel on June 25 looks at the diverse offerings of shows where music features as a character. Matt Biffa of “Sex Education,” Nora Felder...
- 6/10/2020
- by Variety Staff
- Variety Film + TV
Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday.
This week’s question: What’s the best new overlooked show of 2018 so far?
Ben Travers (@BenTTravers), IndieWire
The best score of 2018 belongs to Nicholas Britell for his work on “Succession.” The best soundtrack, though, comes from “Dear White People” (with “Legion” and “Atlanta” giving it a run for its money). Soundtracks enhance the story by providing punctuation marks, setting tone, and guiding (without manipulating) emotions through existing music choices. The aptly named “Dear White People Vol. 2” does precisely that. Few series are deft enough to place Erykah Badu so close to Jaden Smith, and fewer still pull in a key musical moment from a cast member — Ashley Blaine Ferguson just kills “Tyrone.”
My second choice is a tie between HBO’s “Barry” which music supervisor Liza Richardson kills it for song...
This week’s question: What’s the best new overlooked show of 2018 so far?
Ben Travers (@BenTTravers), IndieWire
The best score of 2018 belongs to Nicholas Britell for his work on “Succession.” The best soundtrack, though, comes from “Dear White People” (with “Legion” and “Atlanta” giving it a run for its money). Soundtracks enhance the story by providing punctuation marks, setting tone, and guiding (without manipulating) emotions through existing music choices. The aptly named “Dear White People Vol. 2” does precisely that. Few series are deft enough to place Erykah Badu so close to Jaden Smith, and fewer still pull in a key musical moment from a cast member — Ashley Blaine Ferguson just kills “Tyrone.”
My second choice is a tie between HBO’s “Barry” which music supervisor Liza Richardson kills it for song...
- 7/4/2018
- by Hanh Nguyen
- Indiewire
Just ahead of the 7th annual Atx Television Festival, which will kick off June 7 in Austin, TX, the organization has launched its inaugural podcast series, The TV Campfire, as a part of its Atx TV Podcast Network. The series will serve as an insider’s perspective into the world of television with special guests including Bill Lawrence, David Simon (The Wire), Jason Katims, Marta Kauffman (Friends).
Created by Atx Festival cofounders Caitlin McFarland and Emily Gipson and co-produced by Madica Productions, takes a deep dive into the social issues, how today’s current political climate is influencing television, the role of music, how some of the most popular shows were pitched successfully, first big breaks, and diverse representation on and off screen,
The first 2-episodes, which are available today, feature Carlton Cuse, Kerry Ehrin, Liza Richardson,...
Created by Atx Festival cofounders Caitlin McFarland and Emily Gipson and co-produced by Madica Productions, takes a deep dive into the social issues, how today’s current political climate is influencing television, the role of music, how some of the most popular shows were pitched successfully, first big breaks, and diverse representation on and off screen,
The first 2-episodes, which are available today, feature Carlton Cuse, Kerry Ehrin, Liza Richardson,...
- 5/23/2018
- by Amanda N'Duka
- Deadline Film + TV
The Case for Ann Dowd: Justin Theroux and Carrie Coon on Why the Lone ‘Leftovers’ Nominee Should Win
If Ann Dowd could have explained why “The Leftovers” was important three years ago, everyone within earshot would have been watching. But she didn’t know then. She had to live it first.
“Depending on the day, if someone asks me about Patti, I can’t get through the conversation,” Dowd said, in an interview with IndieWire. “You didn’t play those parts. You lived them.”
For three seasons, Dowd portrayed the confounding antagonist-turned-hero Patti Levin. She earned the series’ first and only Emmy nomination in 2017 (her second of the year, along with “The Handmaid’s Tale”).
“I think if you were to internally poll all of us — Justin, Carrie, [director and producer] Mimi [Leder], [music supervisor] Liza Richardson, the editors, and all the actors — and say, ‘The Leftovers’ is only going to get one nomination — and we’re taking [Outstanding Drama] Series off the table’ — I think everyone would’ve written down ‘Dowd,'” co-creator Damon Lindelof said.
“Depending on the day, if someone asks me about Patti, I can’t get through the conversation,” Dowd said, in an interview with IndieWire. “You didn’t play those parts. You lived them.”
For three seasons, Dowd portrayed the confounding antagonist-turned-hero Patti Levin. She earned the series’ first and only Emmy nomination in 2017 (her second of the year, along with “The Handmaid’s Tale”).
“I think if you were to internally poll all of us — Justin, Carrie, [director and producer] Mimi [Leder], [music supervisor] Liza Richardson, the editors, and all the actors — and say, ‘The Leftovers’ is only going to get one nomination — and we’re taking [Outstanding Drama] Series off the table’ — I think everyone would’ve written down ‘Dowd,'” co-creator Damon Lindelof said.
- 8/16/2017
- by Ben Travers
- Indiewire
For the first time ever, the 2017 Primetime Emmys will hand out an award for Outstanding Music Supervision, acknowledging the creative contributions made by the music supervisors on TV series. It’s an award that’s long overdue; music supervision is an often misunderstood art form thought to be as simple as pulling songs off an iPod. “There’s so much work that goes into it that you don’t see on the screen,” says Amanda Krieg Thomas,...
- 6/23/2017
- Entertainment Tonight
“Dear White People” creator Justin Simien has the perfect joke he’s dying to use on his Netflix series. But there’s just one problem: R. Kelly won’t let him.
“It was the best joke of the series,” Simien told IndieWire on a recent panel at the Atx Television Festival. “It was a play on the ‘I Believe I Can Fly’ song. Because there’s a character [on the show] that thinks he can fly. Guys, it was hilarious.”
The song, however, came with a hefty pricetag. But “on top of that, R. Kelly was like, ‘also, no,'” Simien said. He added, clearly joking, “It was the worst day of my life!”
Clearing music for TV and music may be one of the most time-consuming and frustrating aspects of production. Music supervisors have to balance the desire of showrunners who might have an idea for a song – even if the track might not actually fit – with songwriters who may turn the show down. Or perhaps the copyright holder can’t be found. And even if all of that is cleared, a song may be too expensive for the production.
Read More: TV Academy Adds Music Supervisor, Reality Casting Emmy Categories; Restructures Interactive Awards
“It’s not just picking music, it’s the clearance process, it’s all the paperwork,” said Liza Richardson, who has served as a music supervisor on shows such as “Friday Night Lights,” “The Leftovers” and “Hawaii Five-0.” “It’s dealing with the budget. It’s all of the personalities.”
Added Maggie Phillips, whose credits include “Fargo,” “Legion” and FX’s upcoming “Snowfall”: “It’s studios, it’s managing expectations. Having to talk to a certain rights owner for an hour once a week so that they will give us their song for a certain price.”
Music supervision, in other words, is a craft. And that’s why it’s finally being honored with its own category at this year’s Creative Arts Emmy Awards. Series episodes and specials will compete in the brand new Outstanding Music Supervision category, which honors “exceptional creative contributions to a program through the use of music including the narrative impact of lyric-based songs, both original or pre-existing, the use of instrumental source music, and on-camera musical performances.”
It’s been a long time coming. Music supervisors, led by Guild of Music Supervisors president John Houlihan, have spent years lobbying the Television Academy to create the category. They were first admitted into the organization in 2015, which was the beginning step. Then last fall, the Guild pitched its case for an Emmy category to the TV Academy’s board of governors.
“The central argument was that music supervision is a creative endeavor that significantly contributes to Television storytelling but, up until that point, they were not eligible for any award,” said TV Academy music governor Michael Levine. “The criteria – which emphasize creative as opposed to administrative contributions – were shaped by input from music supervisors, other music peer group members, governors from other peer groups, awards committee members, and the experience of Television Academy staff.”
The recognition is also heartening for a group that has to juggle multiple shows and projects at once in order to make a living. “We’re not exclusive to shows and we don’t get paid the way exclusive people get paid,” Phillips noted. “We’re paid per episode. And there’s no union that represents music supervisors. The pay is a little low, so we have to do multiple projects. It’s hard. I love it though and it’s what I do.”
Up next: Why the Rolling Stones didn’t want their drug song in a show about drugs
Related storiesHow Screaming Beatlemania Comes Alive in Ron Howard's 'Eight Days a Week -- The Touring Years''a Series of Unfortunate Events': Designing Neil Patrick Harris' Tour-de-Force Transformation Into Count Olaf'The Young Pope': How Jude Law Went Weird with Paolo Sorrentino for His Best Work In Years...
“It was the best joke of the series,” Simien told IndieWire on a recent panel at the Atx Television Festival. “It was a play on the ‘I Believe I Can Fly’ song. Because there’s a character [on the show] that thinks he can fly. Guys, it was hilarious.”
The song, however, came with a hefty pricetag. But “on top of that, R. Kelly was like, ‘also, no,'” Simien said. He added, clearly joking, “It was the worst day of my life!”
Clearing music for TV and music may be one of the most time-consuming and frustrating aspects of production. Music supervisors have to balance the desire of showrunners who might have an idea for a song – even if the track might not actually fit – with songwriters who may turn the show down. Or perhaps the copyright holder can’t be found. And even if all of that is cleared, a song may be too expensive for the production.
Read More: TV Academy Adds Music Supervisor, Reality Casting Emmy Categories; Restructures Interactive Awards
“It’s not just picking music, it’s the clearance process, it’s all the paperwork,” said Liza Richardson, who has served as a music supervisor on shows such as “Friday Night Lights,” “The Leftovers” and “Hawaii Five-0.” “It’s dealing with the budget. It’s all of the personalities.”
Added Maggie Phillips, whose credits include “Fargo,” “Legion” and FX’s upcoming “Snowfall”: “It’s studios, it’s managing expectations. Having to talk to a certain rights owner for an hour once a week so that they will give us their song for a certain price.”
Music supervision, in other words, is a craft. And that’s why it’s finally being honored with its own category at this year’s Creative Arts Emmy Awards. Series episodes and specials will compete in the brand new Outstanding Music Supervision category, which honors “exceptional creative contributions to a program through the use of music including the narrative impact of lyric-based songs, both original or pre-existing, the use of instrumental source music, and on-camera musical performances.”
It’s been a long time coming. Music supervisors, led by Guild of Music Supervisors president John Houlihan, have spent years lobbying the Television Academy to create the category. They were first admitted into the organization in 2015, which was the beginning step. Then last fall, the Guild pitched its case for an Emmy category to the TV Academy’s board of governors.
“The central argument was that music supervision is a creative endeavor that significantly contributes to Television storytelling but, up until that point, they were not eligible for any award,” said TV Academy music governor Michael Levine. “The criteria – which emphasize creative as opposed to administrative contributions – were shaped by input from music supervisors, other music peer group members, governors from other peer groups, awards committee members, and the experience of Television Academy staff.”
The recognition is also heartening for a group that has to juggle multiple shows and projects at once in order to make a living. “We’re not exclusive to shows and we don’t get paid the way exclusive people get paid,” Phillips noted. “We’re paid per episode. And there’s no union that represents music supervisors. The pay is a little low, so we have to do multiple projects. It’s hard. I love it though and it’s what I do.”
Up next: Why the Rolling Stones didn’t want their drug song in a show about drugs
Related storiesHow Screaming Beatlemania Comes Alive in Ron Howard's 'Eight Days a Week -- The Touring Years''a Series of Unfortunate Events': Designing Neil Patrick Harris' Tour-de-Force Transformation Into Count Olaf'The Young Pope': How Jude Law Went Weird with Paolo Sorrentino for His Best Work In Years...
- 6/20/2017
- by Michael Schneider
- Indiewire
‘The Leftovers’: 7 Unambiguous, Post-Finale Facts from Justin Theroux, Carrie Coon, and the Creators
“Well, you’re one for two.”
That’s how Jimmy Kimmel greeted “Lost” and “Leftovers” co-creator Damon Lindelof Sunday night, following a For Your Consideration screening of the series’ finale. Alluding to the mixed reaction to the “Lost” finale — as well as the overwhelmingly positive reception to “The Leftovers” ending, both inside and outside the room — Kimmel got a big laugh from the TV Academy members present.
And they didn’t end there.
“The Leftovers” cast and creators gathered at Paramount Studios for a finale screening and panel discussion, the latter of which was nearly as long as the 72-minute episode itself. Joining Lindelof and Kimmel on-stage were, (from left-to-right in the photo below) writer and executive producer Tom Spezialy, finale director and series Ep Mimi Leder, writer, Ep, and co-creator Tom Perrotta, Lindelof, Kimmel, Justin Theroux, Carrie Coon, Amy Brenneman, Scott Glenn, and Kevin Carroll.
Read More: ‘The Leftovers...
That’s how Jimmy Kimmel greeted “Lost” and “Leftovers” co-creator Damon Lindelof Sunday night, following a For Your Consideration screening of the series’ finale. Alluding to the mixed reaction to the “Lost” finale — as well as the overwhelmingly positive reception to “The Leftovers” ending, both inside and outside the room — Kimmel got a big laugh from the TV Academy members present.
And they didn’t end there.
“The Leftovers” cast and creators gathered at Paramount Studios for a finale screening and panel discussion, the latter of which was nearly as long as the 72-minute episode itself. Joining Lindelof and Kimmel on-stage were, (from left-to-right in the photo below) writer and executive producer Tom Spezialy, finale director and series Ep Mimi Leder, writer, Ep, and co-creator Tom Perrotta, Lindelof, Kimmel, Justin Theroux, Carrie Coon, Amy Brenneman, Scott Glenn, and Kevin Carroll.
Read More: ‘The Leftovers...
- 6/5/2017
- by Ben Travers
- Indiewire
The Peabody award-winning The Leftovers concludes on Sunday, June 4 and through its three seasons, the show has become just as acclaimed for its music as its incredible story, writing and acting.
While the HBO series is no stranger to change (season one's opening titles used an original piece by composer Max Richter, and season two used Iris DeMent's "Let the Mystery Be"), season three has gone even further, adapting the theme song to each episode. "[It was showrunner] Damon Lindelof's decision," music supervisor Liza Richardson tells Et by phone, adding that the music choices on the series vary between her and Lindelof's allegiance to certain artists, love of repetition and the desire to "surprise."
Exclusive: Damon Lindelof on Ending ‘Leftovers’ in the Wake of ‘Lost’
"Hopefully all the main title choices are all very surprising for the audience, whether you know the song or not," she says. And while title choices serve as an ode to that specific...
While the HBO series is no stranger to change (season one's opening titles used an original piece by composer Max Richter, and season two used Iris DeMent's "Let the Mystery Be"), season three has gone even further, adapting the theme song to each episode. "[It was showrunner] Damon Lindelof's decision," music supervisor Liza Richardson tells Et by phone, adding that the music choices on the series vary between her and Lindelof's allegiance to certain artists, love of repetition and the desire to "surprise."
Exclusive: Damon Lindelof on Ending ‘Leftovers’ in the Wake of ‘Lost’
"Hopefully all the main title choices are all very surprising for the audience, whether you know the song or not," she says. And while title choices serve as an ode to that specific...
- 5/30/2017
- Entertainment Tonight
Damon Lindelof wears his heart on his sleeve, which at once makes him an ideal person to run a show like "Lost" or "The Leftovers," and the absolute last person you would want to wish that burden on. He holds nothing back, whether in his writing or in his discussion of his writing, and he takes every criticism of his work very deeply. (He quit Twitter two years ago because it wasn't healthy for him anymore to wake up every day to people cursing at him and demanding six years of their lives back.) That openness and sincerity was on display in "Leftovers" season 1. The show was despised by some for being too depressing, too slow, too opaque, and spending far too much time with the mute, chain-smoking members of the Guilty Remnant cult. But it was adored by others (like me) who fell right into the show's parallel world — one just like ours,...
- 9/29/2015
- by Alan Sepinwall
- Hitfix
The Hollywood Music in Media Awards (HMMAs) have announced the nominees in the Visual Media categories.
Showcasing the best and brightest in musical creation for visual media, the 5th Annual Hollywood Music in Media Awards (HMMAs) will be held at The Fonda Theater in Hollywood on Tuesday, November 4, 2014.
The 2014 HMMAs welcome back celebrity hosts including Oscar nominated actor Eric Roberts, former Matchbox 20 member Adam Gaynor, acclaimed Director/Writer/Producer Andy Fickman and Earth, Wind & Fire’s Verdine White. A portion of the proceeds will benefit Education Through Music – Los Angeles (Etmla). Honorees, performers, and special guests to be announced.
The field of entrants were narrowed down to final nominees by the Hmma advisory board and selection committee. The winners will be voted upon by music-media industry professionals comprised of select members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations,...
Showcasing the best and brightest in musical creation for visual media, the 5th Annual Hollywood Music in Media Awards (HMMAs) will be held at The Fonda Theater in Hollywood on Tuesday, November 4, 2014.
The 2014 HMMAs welcome back celebrity hosts including Oscar nominated actor Eric Roberts, former Matchbox 20 member Adam Gaynor, acclaimed Director/Writer/Producer Andy Fickman and Earth, Wind & Fire’s Verdine White. A portion of the proceeds will benefit Education Through Music – Los Angeles (Etmla). Honorees, performers, and special guests to be announced.
The field of entrants were narrowed down to final nominees by the Hmma advisory board and selection committee. The winners will be voted upon by music-media industry professionals comprised of select members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations,...
- 10/9/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Somehow over the years the Hollywood Music in Media Awards have escaped me. The event's fifth annual slate of nominees were announced today, and it's a pretty standard assortment of names we've been considering at the forefront of this year's Best Original Score Oscar race, from Trent Reznor and Atticus Ross to Hans Zimmer to the ubiquitous Alexandre Desplat. The nominees were chosen by an "Hmma advisory board and selection committee," and winners will be voted upon by "music-media industry professionals comprised of select members of the Society of Composers and Lyricists, The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations, film music journalists and music executives," according to the press release. You might raise your eyebrow at something like "Interstellar" being on here when it hasn't been screened for these purposes (or much at all, for that matter). The nominations are also based on hearing music via...
- 10/8/2014
- by Kristopher Tapley
- Hitfix
Did you love the "Parenthood" soundtrack vol. 1? There's a follow-up compilation out now for NBC's critically-acclaimed drama, featuring songs by hit artists CeeLo Green, Edward Sharpe and the Magnetic Zeroes, Lyle Lovett and more.
This is the debut release for J2 Music's soundtrack-focused label (distributed by InGrooves, licensed through NBCUniversal Television Consumer Products). The compilation was produced by "Parenthood" creator Jason Katims, Patrick Ward, Liza Richardson, Jonathan Platt and Jonathan McHugh. It offers an array of poignant songs that appeared during the last few seasons of the series.
Track listing:
1. Delta Rae - Dance In The Graveyards
2. Lyle Lovett - If I Had A Boat
3. CeeLo Green - Piece Of My Heart (Live Recording)
4. A Fine Frenzy - What I Wouldn't Do
5. Edward Sharpe & The Magnetic Zeros - Man On Fire (Little Daylight Remix)
6. Emile Millar - Honey I'll Try
7. Greg Laswell - Take A Bow
8. Brett Dennen - Hard Times...
This is the debut release for J2 Music's soundtrack-focused label (distributed by InGrooves, licensed through NBCUniversal Television Consumer Products). The compilation was produced by "Parenthood" creator Jason Katims, Patrick Ward, Liza Richardson, Jonathan Platt and Jonathan McHugh. It offers an array of poignant songs that appeared during the last few seasons of the series.
Track listing:
1. Delta Rae - Dance In The Graveyards
2. Lyle Lovett - If I Had A Boat
3. CeeLo Green - Piece Of My Heart (Live Recording)
4. A Fine Frenzy - What I Wouldn't Do
5. Edward Sharpe & The Magnetic Zeros - Man On Fire (Little Daylight Remix)
6. Emile Millar - Honey I'll Try
7. Greg Laswell - Take A Bow
8. Brett Dennen - Hard Times...
- 10/17/2013
- by editorial@zap2it.com
- Pop2it
Photo Courtesy of Sony Pictures Animation. © 2012 Sony Pictures Animation, Inc. All Rights Reserved.
Acclaimed animation director Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars) and producer Michelle Murdocca (Open Season) will unveil never-before-seen footage from the highly-anticipated animated comedy, Hotel Transylvania, during a panel at Comic-Con in San Diego, CA on Thursday, July 12 at 3:00 p.m. in the Indigo Ballroom of the Hilton San Diego Bayfront Hotel.
Hotel Transylvania, which arrives in theatres on September 28, 2012, marks Tartakovsky’s theatrical directorial debut. Tartakovsky and Murdocca will discuss the animated film, take questions from the audience, and screen never-before-seen footage from the film.
Following the panel, Tartakovsky will be signing a limited edition Hotel Transylvania poster created exclusively for Comic-Con fans at the Sony booth #4229 at 4:00Pm.
Welcome to Hotel Transylvania, Dracula’s lavish five-stake resort, where monsters and their families can live it up, free to...
Acclaimed animation director Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars) and producer Michelle Murdocca (Open Season) will unveil never-before-seen footage from the highly-anticipated animated comedy, Hotel Transylvania, during a panel at Comic-Con in San Diego, CA on Thursday, July 12 at 3:00 p.m. in the Indigo Ballroom of the Hilton San Diego Bayfront Hotel.
Hotel Transylvania, which arrives in theatres on September 28, 2012, marks Tartakovsky’s theatrical directorial debut. Tartakovsky and Murdocca will discuss the animated film, take questions from the audience, and screen never-before-seen footage from the film.
Following the panel, Tartakovsky will be signing a limited edition Hotel Transylvania poster created exclusively for Comic-Con fans at the Sony booth #4229 at 4:00Pm.
Welcome to Hotel Transylvania, Dracula’s lavish five-stake resort, where monsters and their families can live it up, free to...
- 7/10/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Universal Studios have just sent us the brand new trailer for The Kids Are Alright. The movie stars Julianne Moore, Annette Bening, Mark Ruffalo, Mia Wasikowska and Josh Hutcherson. It’s directed by Lisa Cholodenko and is scheduled for release in the UK 29th October.
Jamie put up the new poster a little while ago which you can see here.
Synopsis
It’s all about family.
The most talked-about movie at the 2010 Sundance Film Festival, and the winner of the Teddy Award for Best Feature Film at the 2010 Berlin International Film Festival, The Kids Are All Right is directed by Lisa Cholodenko (High Art, Laurel Canyon) from an original screenplay that she wrote with Stuart Blumberg (Keeping the Faith). The movie combines comedic surprise with poignant emotional truth in a funny, vibrant, and richly drawn portrait of a modern family.
Nic and Jules (three-time Academy Award nominee Annette Bening and...
Jamie put up the new poster a little while ago which you can see here.
Synopsis
It’s all about family.
The most talked-about movie at the 2010 Sundance Film Festival, and the winner of the Teddy Award for Best Feature Film at the 2010 Berlin International Film Festival, The Kids Are All Right is directed by Lisa Cholodenko (High Art, Laurel Canyon) from an original screenplay that she wrote with Stuart Blumberg (Keeping the Faith). The movie combines comedic surprise with poignant emotional truth in a funny, vibrant, and richly drawn portrait of a modern family.
Nic and Jules (three-time Academy Award nominee Annette Bening and...
- 10/1/2010
- by David Sztypuljak
- HeyUGuys.co.uk
Moviemaker Jim Sheridan had no problems making his Brothers star Jake Gyllenhaal sob for one emotional scene in the film - he played Bruce Springsteen's live version of The River.
The script didn't call for Gyllenhaal to cry, but the actor felt a great sadness as he heard the song his father used to play him when he was a kid - and the tears began to flow.
Luckily, Irishman Sheridan kept the cameras rolling and caught the magic moment.
Gyllenhaal, who selected the tune among his favourites for an upcoming Los Angeles radio show appearance, tells Kcrw presenter Liza Richardson, "During rehearsals, he (Sheridan) would play it (song), and then he would play it on set too to get us in the mood of the scene... and there’s this scene in the film where my brother has died and I am with his wife.
"We’re sitting together in front of a fire and we end up kissing at the end of the scene... and Jim decided to play this song, play The River.
"He kept the music rolling and Natalie Portman, who plays my brother’s wife in the movie, she leaves the scene. Jim kept the film rolling on and on and on and I just kept listening to this song and, by the end of this take, I just start to cry and cry; I couldn’t stop crying.
"I think a lot of it has to do with its connection to my family; listening to Bruce Springsteen when I was a kid with my dad. My first concert I ever went to was the Born in the USA tour concert and I remember being with my father.
"I just think the story between father and son and the complications between those two positions in a family has always been a huge thing in my life. That’s also the heart of the movie I was making with Jim Sheridan."...
The script didn't call for Gyllenhaal to cry, but the actor felt a great sadness as he heard the song his father used to play him when he was a kid - and the tears began to flow.
Luckily, Irishman Sheridan kept the cameras rolling and caught the magic moment.
Gyllenhaal, who selected the tune among his favourites for an upcoming Los Angeles radio show appearance, tells Kcrw presenter Liza Richardson, "During rehearsals, he (Sheridan) would play it (song), and then he would play it on set too to get us in the mood of the scene... and there’s this scene in the film where my brother has died and I am with his wife.
"We’re sitting together in front of a fire and we end up kissing at the end of the scene... and Jim decided to play this song, play The River.
"He kept the music rolling and Natalie Portman, who plays my brother’s wife in the movie, she leaves the scene. Jim kept the film rolling on and on and on and I just kept listening to this song and, by the end of this take, I just start to cry and cry; I couldn’t stop crying.
"I think a lot of it has to do with its connection to my family; listening to Bruce Springsteen when I was a kid with my dad. My first concert I ever went to was the Born in the USA tour concert and I remember being with my father.
"I just think the story between father and son and the complications between those two positions in a family has always been a huge thing in my life. That’s also the heart of the movie I was making with Jim Sheridan."...
- 12/3/2009
- WENN
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