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Why Laura Branigan’s ‘Gloria’ Is the Perfect Song for an On-Screen Crime Scheme

Why Laura Branigan’s ‘Gloria’ Is the Perfect Song for an On-Screen Crime Scheme
Twice in the last month, the 1982 Laura Branigan hit “Gloria” has been used as a key plot device: to soundtrack the maniacal trance of a person about to commit a major act of violence. In “The Assassination of Gianni Versace: American Crime Story,” Darren Criss, who plays serial killer Andrew Cunanan, sings along to the tune at top-volume while driving to his next crime scene in Miami. And in “I Tonya,” Sebastian Stan, in the role of Tonya Harding’s ex-husband Jeff Gillooly, listens to the song intently as he ponders how to handicap competing figure skater Nancy Kerrigan. Coincidence that both the Ryan Murphy series on FX and the Craig Gillespie-directed film feature men in their cars finding meaning in the post-disco pop song?

“I had no idea ‘Gloria’ was going to be in ‘I Tonya,'” says “Versace” music supervisor Amanda Krieg Thomas. “I watched the movie as a complete bystander. It was very
See full article at Variety - Film News »

Why Laura Branigan’s ‘Gloria’ Is the Perfect Song for an On-Screen Crime Scheme

Why Laura Branigan’s ‘Gloria’ Is the Perfect Song for an On-Screen Crime Scheme
Twice in the last month, the 1982 Laura Branigan hit “Gloria” has been used as a key plot device: to soundtrack the maniacal trance of a person about to commit a major act of violence. In “The Assassination of Gianni Versace: American Crime Story,” Darren Criss, who plays serial killer Andrew Cunanan, sings along to the tune at top-volume while driving to his next crime scene in Miami. And in “I Tonya,” Sebastian Stan, in the role of Tonya Harding’s ex-husband Jeff Gillooly, listens to the song intently as he ponders how to handicap competing figure skater Nancy Kerrigan. Coincidence that both the Ryan Murphy series on FX and the Craig Gillespie-directed film feature men in their cars finding meaning in the post-disco pop song?

“I had no idea ‘Gloria’ was going to be in ‘I Tonya,'” says “Versace” music supervisor Amanda Krieg Thomas. “I watched the movie as a complete bystander. It was very
See full article at Variety - TV News »

Sufjan Stevens, ‘Greatest Showman,’ ‘Girls’ Among Guild of Music Supervisors Awards Nominees

Sufjan Stevens, ‘Greatest Showman,’ ‘Girls’ Among Guild of Music Supervisors Awards Nominees
The Guild of Music Supervisors revealed nominees for its eighth annual awards recognizing 17 categories in the sector which places and integrates music into film, TV and other visual mediums. The event is scheduled for Feb. 8 at The Theatre at Ace Hotel in downtown Los Angeles.

The awards recognize outstanding music supervision in film, television, trailers, TV promos, advertising and video games.

Said Thomas Golubić: president of the Guild, in announcing the nominations: “From music-intensive tent-pole sequels and technically complicated musicals to elegantly navigated character dramas, the Guild has highlighted the best music supervision in film this past year. Our television nominees represent some of the most exciting music supervision work in this groundbreaking year of the art form. We are incredibly proud of the stellar creative achievements of music supervisors in this rich year of music in media.”

See the complete list of nominations at GMSAwards.com or select categories below.

Best Music Supervision
See full article at Variety - TV News »

Sufjan Stevens, ‘Greatest Showman,’ ‘Girls’ Among Guild of Music Supervisors Awards Nominees

Sufjan Stevens, ‘Greatest Showman,’ ‘Girls’ Among Guild of Music Supervisors Awards Nominees
The Guild of Music Supervisors revealed nominees for its eighth annual awards recognizing 17 categories in the sector which places and integrates music into film, TV and other visual mediums. The event is scheduled for Feb. 8 at The Theatre at Ace Hotel in downtown Los Angeles.

The awards recognize outstanding music supervision in film, television, trailers, TV promos, advertising and video games.

Said Thomas Golubić: president of the Guild, in announcing the nominations: “From music-intensive tent-pole sequels and technically complicated musicals to elegantly navigated character dramas, the Guild has highlighted the best music supervision in film this past year. Our television nominees represent some of the most exciting music supervision work in this groundbreaking year of the art form. We are incredibly proud of the stellar creative achievements of music supervisors in this rich year of music in media.”

See the complete list of nominations at GMSAwards.com or select categories below.

Best Music Supervision
See full article at Variety - Film News »

The Best TV Soundtracks of 2017

  • Indiewire
Music makes such a huge difference when it comes to enjoying TV’s top shows, on a level that goes well beyond a theme song. Great composers create an aural language that’s as tangible and essential as the actors or sets on screen, aided by music supervisors who discover undiscovered tracks as well as essential classic gems —without which the show’s most powerful moments would have no impact.

Even the Television Academy agrees: For this first time, this year the Emmy Awards handed out a prize for outstanding music supervision. Susan Jacobs won the award for the “Big Little Lies” episode “You Get What You Need.”

There were so many shows that changed the way music was used on television this year — whether it was Tom Petty’s “American Girl” becoming a shout of protest, an obscure Elvis Presley cover becoming one of our favorite tunes of the year,
See full article at Indiewire »

And the First Ever Emmy for Music Supervision Goes to… a Woman

And the First Ever Emmy for Music Supervision Goes to… a Woman
The first ever Emmy Award for music supervision was handed out on Sept. 10 to Susan Jacobs for “Big Little Lies.” In a field traditionally dominated by men, particularly on the composition side, the win makes the veteran curator and former label executive a trailblazer in the craft of putting song to picture. The episode that clinched it: the finale titled “You Get What You Need,” referencing the Rolling Stones’ “You Can’t Always Gets What You Want,” which played knowingly in the background, but was sung by the artist Ituana. The show also featured a spine-tingling rendition of Elvis Presley’s “Don’t,” performed by Zoe Kravitz. Elvis’ classic “It’s Now or Never” was another highlight.

Jacobs has a distinguished resume that includes music supervision on such films as “Silver Linings Playbook,” “American Hustle” and “Little Miss Sunshine,” and TV series like Amazon’s “Mozart in the Jungle” and HBO’s “The Jinx: The Life and Deaths of Robert Durst.” Among
See full article at Variety - TV News »

How Creative Arts Wins For ‘Stranger Things’ and ‘Westworld’ Might Predict the Biggest 2017 Emmy Races

  • Indiewire
How Creative Arts Wins For ‘Stranger Things’ and ‘Westworld’ Might Predict the Biggest 2017 Emmy Races
As expected, the Creative Arts Emmy competition Sunday turned out to be a sci-fi smackdown between Netflix’s “Stranger Things” and HBO’s “Westworld,” and each split the night with five awards apiece.

The Duffer Brothers’ ’80s homage to Steven Spielberg and Stephen King, “Stranger Things” won for outstanding editing, main title theme music, main title design, sound editing, and casting. The Jonathan Nolan/ Lisa Joy sci-fi/western, “Westworld,” earned outstanding special visual effects (the domain of “Game of Thrones” five years running), makeup (non-prosthetic), hairstyling, sound mixing, and creative achievement in interactive media.

However, if recent history proves a reliable harbinger, “Stranger Things” has the edge in the race for next Sunday’s Outstanding Series competition because of its editing victory. That’s because the last five outstanding editing winners have also taken home the big prize.

Read More:News Film TV Awards Toolkit More Search ‘The Handmaid’s Tale,
See full article at Indiewire »

Creative Arts Emmys: Alexis Bledel, Jane Lynch Discuss Significance of Their Wins

Creative Arts Emmys: Alexis Bledel, Jane Lynch Discuss Significance of Their Wins
Jane Lynch and Alexis Bledel were among the winners on night two of the Creative Arts Emmys to join reporters backstage to discuss their award-winning performances.

Bledel said she felt “so grateful” to be part of a show like “The Handmaid’s Tale” due to its cultural impact. For Lynch, she joked about where she stores all of her Emmys, with this year’s win bringing her total to four. In addition, “Fargo” composer Jeff Russo revealed whether or not he has discussed a possible Season 4 with series creator Noah Hawley.

Read their full quotes below.

Bledel, winner for guest actress in a drama series for “The Handmaid’s Tale”

On her reaction to winning: “I just remember feeling really surprised and really honored to accept this. I’m so grateful to be a part of this show, so being singled out for being on this show is just very special to me personally.”

On
See full article at Variety - TV News »

Creative Arts Emmy Winners: ‘Stranger Things,’ ‘Westworld,’ ‘Big Little Lies’ Win Big — Complete List

Creative Arts Emmy Winners: ‘Stranger Things,’ ‘Westworld,’ ‘Big Little Lies’ Win Big — Complete List
Netflix’s “Stranger Things” and HBO’s “Westworld” gained momentum in the Emmy Award race as both shows racked up five wins at the Creative Arts Emmy Awards.

NBC’s “This Is Us” pulled out a big win with the last award of the night — the guest drama actor win for Gerald McRaney. The same was true for Hulu’s “The Handmaid’s Tale” as Alexis Bledel prevailed for guest drama actress.

Saturday Night Live,” the venerable NBC sketch comedy, also took five wins, including comedy guest actor and actress awards for Dave Chappelle, as host, and Melissa McCarthy, for her guest appearances as former White House press secretary Sean Spicer.

Stranger Things” took the drama series casting kudo — a category that is often a bellwether for program wins at the televised Primetime Emmy Awards ceremony, which is set for Sept. 17. HBO’s “Big Little Lies” won for casting for a limited series.

Two
See full article at Variety - TV News »

How The Clash Became an Integral Part of the ‘Stranger Things’ Musical Emmy Nomination

How The Clash Became an Integral Part of the ‘Stranger Things’ Musical Emmy Nomination
The use of The Clash’s 1982 hit single, “Should I Stay or Should I Go,” in “Stranger Things” is a great example of why there’s a new Emmy category this season honoring the creativity of the music supervisor. The Duffer Brothers inserted the song into their ’80s sci-fi script to emotionally connect the Indiana family that’s separated by the Upside Down dimension. However, if Emmy-nominated music supervisor Nora Felder hadn’t convinced The Clash of its importance, the Duffers would’ve had to find a replacement.

Fortunately, the “Stranger Things” showrunners (Matt and Ross Duffer) were never aware there was even a problem obtaining the licensing rights. “It was my job to protect them,” said Felder Thursday night during a Q&A panel discussion. “They were worried about trivializing the song and needed to see how it was going to be used in scenes, and for the first
See full article at Indiewire »

‘Girls,’ ‘Master of None,’ ‘Stranger Things’ Music Supervisors Set Moods Through Sound

‘Girls,’ ‘Master of None,’ ‘Stranger Things’ Music Supervisors Set Moods Through Sound
For the first time in its history, the Emmys are honoring the art of music supervisors, those audio excavators who dig up the perfect song to set a mood, evoke a setting, or express a character’s feelings more succinctly than any line of dialogue ever could. “Music can be used as costumes are — or as art direction, as casting,” says Thomas Golubic, a nominee for “Better Call Saul.” “It is absolutely vital in helping best tell a story.” Golubic joins a freshman class in the category that includes “Big Little Lies,” “Girls,” “Master of None” and “Stranger Things.”

Better Call Saul

In the third season of AMC’s “Breaking Bad” spinoff, Jimmy McGill (Bob Odenkirk) moves several steps closer to becoming Saul Goodman, the ethically flexible strip-mall lawyer whose roster of unsavory clients will eventually include Walter White. Though he worked with co-creators Vince Gilligan and Peter Gould on “Breaking Bad,” Golubic
See full article at Variety - TV News »

What Will It Take for Emmys to Close the Gender Gap?

What Will It Take for Emmys to Close the Gender Gap?
The actress categories at the Emmy awards are always an embarrassment of riches, and this year is no different, featuring 52 worthy nominees across nine categories.

However, acknowledging women’s performances in Hollywood is a given in those categories since the Academy still awards male and female actors separately. For a more accurate picture of how women truly fared on the Emmy ballot this year, consideration must be paid to those who work behind the scenes — and who broke through in categories that are traditionally dominated by men. And those numbers tell a completely different story.

The good news is that the 2017 Emmy nominations see a wide slate of female-centric programming dominating key categories. This is most notable with newcomers “The Handmaid’s Tale,” which picked up 13 nominations for streaming service Hulu; HBO’s adaptation “Big Little Lies,” which garnered 16 nominations; and “Feud: Bette and Joan,” which boasts a whopping 19 nominations for cabler FX, including
See full article at Variety - TV News »

Why ‘Master of None’ Leads New Music Supervisor Emmy Race

Why ‘Master of None’ Leads New Music Supervisor Emmy Race
The new Music Supervisor category this Emmy season finally honors the supervisor’s creative contribution to narrative storytelling and music aesthetic: Licensing songs that are appropriately iconic and emotionally resonant, while touting some of the hottest new talent.

Here are the nominees: Thomas Golubic (“Better Call Saul” — “Sunk Costs”), Susan Jacobs (“Big Little Lies” — “You Get What You Need”), Manish Raval, Jonathan Leahy, Tom Wolfe (“Girls”— “Goodbye Tour”), Zach Cowie, Kerri Drootin (“Master of None” — “Amarsi Un Po”), and Nora Felder (“Stranger Things” — “Chapter Two: The Weirdo on Maple Street”).

The results included three female supervisors (Jacobs, Drootin, and Felder) and demonstrated the brand power of HBO (“Big Little Lies,” “Girls”) and Netflix (“Master of None,” “Stranger Things”). But in the end, it came down to a battle of dueling playlists.

Better Call Saul” — “Sunk Costs”

In the third season of the “Breaking Bad” prequel, Jimmy (Bob Odenkirk) gets
See full article at Indiewire »

Emmys 2017: Where the Ladies At? The Brand New Music Supervision Category

Emmys 2017: Where the Ladies At? The Brand New Music Supervision Category
Among the more diverse Emmy groupings that were revealed on Thursday’s nominations announcement: the brand new Outstanding Music Supervision award, which featured three women among the five episodes in contention. Netflix and HBO rule the category, with each up for two — Netflix’s “Master Of None” and “Stranger Things,” and HBO’s “Girls” and “Big Little Lies” — while AMC’s “Better Call Saul” rounds out the group.

Some 75 shows were submitted for the category, which music professionals and fans alike have long complained was overlooked in the Emmy race. In May, Michael A. Levine, one of the Academy’s two music governors, explained that, “The job of music supervision has evolved, from what was once primarily an administrative task to becoming a creative and artistic one.”

Indeed, beyond the complexities of licensing and clearances for recorded tracks, which can easily push a music budget to over $1 million if songs by top-tier artists are used, the
See full article at Variety - TV News »

Exclusive: ‘The Americans,’ ‘Big Little Lies’ and ‘Master of None’ Music Supervisors Talk TV's Best Music of the Season

Exclusive: ‘The Americans,’ ‘Big Little Lies’ and ‘Master of None’ Music Supervisors Talk TV's Best Music of the Season
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,
See full article at Entertainment Tonight »

M. Night Shyamalan’s Split Blu-ray, DVD, Digital HD & VOD Release Details & Cover Art

The Beast can awaken in your living room, as Universal Pictures Home Entertainment will unleash M. Night Shyamalan's Split on Digital HD on April 4th, followed by a Blu-ray, DVD, and VOD release on April 18th, with special features including an alternate ending and deleted scenes.

Press Release: Universal City, California, March 1, 2017 – Writer and Director M. Night Shyamalan (The Sixth Sense, Unbreakable, The Visit) delivers his most gripping film yet with Split, an original psychological thriller available on Digital HD on April 4, 2017 and on Blu-ray™, DVD and On Demand on April 18, 2017, from Universal Pictures Home Entertainment. Jason Blum (Insidious, Ouija, The Visit, The Purge series) returns to collaborate with Shyamalan in the box-office hit, starring James McAvoy (X-Men: Apocalypse, Victor Frankenstein). The frightening thriller Split delves into the mysterious depths of one man’s fractured mind as a terror unlike the world has seen prepares to be unleashed.
See full article at DailyDead »

Sundance ’17: ‘Thoroughbred’ by Cory Finley

Sundance ’17: ‘Thoroughbred’ by Cory Finley
by Peter Belsito

Thoroughbred” is a two character piece set in an imposing residence where the young women, teenagers, come together for tutoring but it quickly develops beyond that into new — and dangerous — territory.Director Cory Finley with stars Olivia Cooke, Anya Taylor-Joy

Emotionally challenged Amanda and contemptuous Lily reboot their childhood friendship after years of instability and judgment, thrown back together by standardized-test tutoring.

When Lily’s icy stepdad, Mark, conspires to ship her off to reform school instead of her dream college, Amanda’s nonchalant quips about killing him suddenly seem enticing. Even as Amanda’s sinister tendencies surface and the girls hatch a plan, the mutual manipulation that has always defined their relationship threatens to derail their ambitions.

They have a history which enables them to confide and challenge and manipulate one another.

Part of the attraction of this film is the unstable emotional ground each inhabits
See full article at SydneysBuzz »

'Silver Linings Playbook' Sued -- You Better Silver Line My Pockets ... For That Soundtrack!

  • TMZ
A woman who claims she got a bunch of songs together for "Silver Linings Playbook" says she never got paid for her work ... and now she wants cash, courtesy of a jury. Susan Jacobs filed docs claiming she was hired as the film's music supervisor back in 2011 and supervised the production of more than half the soundtrack. 'Slp' went on to become a huge success, as did the soundtrack -- but Susan claims she never
See full article at TMZ »

Mr. Robot Season 2 Episode 10 Review: eps.2.8_h1dden-pr0cess.axx

  • TVfanatic
Chess has been a theme throughout much of Mr. Robot Season 2. If we're thinking in chess terms, Mr. Robot Season 2 Episode 10 is the act of getting all of your chess pieces in order for your final, game-winning (or losing) move.

In a word, it was epic.

I definitely preferred the later, tension-filled half of "Hidden Process," though there was no lack of great moments in the earlier half, which functioned mostly to set things up for the eventual madness of that final scene.

Seriously, the entire last 10-ish minutes were almost unbearably tense. Just when I thought things couldn't get any more nail-bitingly suspenseful, they upped the ante in the craziest way.

Let's start with the Elliot/Joanna plot, which I particularly enjoyed because (as I've said about a hundred times already) I completely adore Rami Malek's and Stephanie Corneliussen's acting and their chemistry together.

Joanna got glammed
See full article at TVfanatic »

Review: ‘Mr. Robot’ Does Not Want To Say No To Us

Review: ‘Mr. Robot’ Does Not Want To Say No To Us
Last Week’S Review: ‘Mr. Robot’ Throws All Decorum Out The Window

Swedish Psycho

We start right before last week’s episode ended, with Joanna Wellick waiting to confront Elliot. To him, everything about Joanna is off. He thinks she can hear his conversations with us, and Mr. Robot feels like she can see him. This week poured fuel on a smoldering fan theory that Tyrell is yet another one of Elliot’s personas — Joanna continues to address Elliot as “Ollie,” using the wrong name but with an air that she’s in on the joke. Does that mean she’s also playing along with Tyrell-as-Elliot, too? Even the name of this episode, “Hidden Process,” points towards the idea of another persona hiding in Elliot’s head. This show has made some outlandish plot turns work in that past, but this one strains credulity. If they really are going this route,
See full article at Indiewire »
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