“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
Spoiler Alert: The story includes details about the series finale of Nashville.
Nashville tonight wrapped its six-season run — four on ABC and two on Cmt — with an eventful finale that featured the return (in a flashback) of the beloved Rayna James (Connie Britton), a happy ending for virtually every character but baddie Brad and a love letter to the city of Nashville.
It was payback time for the final season’s villain, the arrogant label owner Brad (Jeffrey Nordling). With help of Deacon (Charles Esten), Alannah (Rainee Lyleson), the object of Brad’s unwelcome sexual advances in the final season’s #metoo storyline, pulled off a sting operation, getting Brad’s harassment on tape. She, Deacon and Zach (Cameron Scoggins) then used the recording to blackmail Brad into selling his Shiny New Records to Deacon and Zach for a fraction of its value. And Jessie (Kaitlin Doubleday) got full custody of their son Jake.
Nashville tonight wrapped its six-season run — four on ABC and two on Cmt — with an eventful finale that featured the return (in a flashback) of the beloved Rayna James (Connie Britton), a happy ending for virtually every character but baddie Brad and a love letter to the city of Nashville.
It was payback time for the final season’s villain, the arrogant label owner Brad (Jeffrey Nordling). With help of Deacon (Charles Esten), Alannah (Rainee Lyleson), the object of Brad’s unwelcome sexual advances in the final season’s #metoo storyline, pulled off a sting operation, getting Brad’s harassment on tape. She, Deacon and Zach (Cameron Scoggins) then used the recording to blackmail Brad into selling his Shiny New Records to Deacon and Zach for a fraction of its value. And Jessie (Kaitlin Doubleday) got full custody of their son Jake.
- 7/27/2018
- by Nellie Andreeva
- Deadline Film + TV
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