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Via New York Times:

Jammed into a tent atop the London hotel on a blustery evening, the affair had ballooned to three times the size of the Guild’s first ceremony, in 2011, when 150 people showed up for brunch. The event’s increasing popularity served as a reminder that these professionals often act as gatekeepers in the all-important business of placing songs in movies and television shows.

Many nonsupervisors in the room — publishers, label executives and assorted catalog holders, even Oscar-nominated songwriters — were looking to curry favor with notable music supervisors like Alexandra Patsavas (the “Twilight” movies). Others simply wanted to show solidarity with members of the three-year-old organization, many of whom feel underappreciated by a Hollywood establishment that might not understand what they do.

After all, the Academy of Motion Picture Arts and Sciences doesn’t consider their efforts Oscar-worthy. But the Guild’s president, Maureen Crowe, begs to differ. Ms. Crowe (“A Late Quartet,” “True Romance”) views her members as integral to a film as art directors or costume designers, who get their own Oscar categories.

“Music supervisors spend a lot of time thinking about character, time period, design,” she said. “Music used to be a marketing tool, but that is not the main purpose of the songs in a film. The main purpose is to serve the story, just like wardrobe and set design. If it doesn’t serve the story — if it’s forced into something — inevitably it doesn’t work.”




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