‘Eighth Grade’ and ‘Can You Ever Forgive Me?’ Among Guild of Music Supervisors Awards Nominees


As guilds continue to recognize the best in cinema and television of 2018, the Guild of Music Supervisors had just announced the nominees for the 9th annual awards.

The film categories for this particular guild are guided by the budget of the movies in contention, which is definitely a smart way of recognizing music supervisor working at all levels.

Not surprisingly, “Bohemian Rhapsody,” “A Star is Born,” and “Black Panther” made the cut for films budgeted over $25 million. The shocker in this lineup is the family-friendly comedy “Peter Rabbit,” which received mostly negative reviews upon release but has been singled out here.

For films made for less than $25 million surprised nominees include “Love Simon” and “The Hate You Give.” Among those mentioned as having the best music while made under $10 million, the polarizing “Vox Lux” and Netflix’s acclaimed dramedy “Private Life” were included. Meanwhile, in the more independent realm, made for under $5 million, A24’s “Eight Grade” and Sundance gems “Blindspotting” and “Hearts Beat Loud” were nominated.

2019 Guild of Music Supervisors Awards Nominees:

Best Music Supervision for Films Budgeted Over $25 Million

“A Star is Born” – Julia Michels and Julianne Jordan
“Black Panther” – Dave Jordan
“Bohemian Rhapsody” – Becky Bentham
“Mary Poppins Returns” – Michael Higham and Paul Gemignani
“Peter Rabbit” – Wende Crowley

Best Music Supervision for Films Budgeted Under $25 Million

“Can You Ever Forgive Me?” – Howard Paar
“Dumplin'” – Buck Damon
“Green Book” – Tom Wolfe and Manish Raval
“Love, Simon” -Season Kent
“The Hate U Give” – Season Kent

Best Music Supervision for Films Budgeted Under $10 Million

“How to Talk to Girls at Parties” – Michael Hill
“I Can Only Imagine” – Kevin Edelman and Ben Sokoler
“Private Life” – Howard Paar
“Vox Lux” – Margaret Yen and Alison Litton

Best Music Supervision for Films Budgeted Under $5 Million

“Armed” -Joel C. High
“Blindspotting” – Jonathan McHugh
“Eighth Grade” – Joe Rudge
“Hearts Beat Loud” – Joe Rudge and Chris Swanson
“Izzy Gets The F*ck Across Town” – Joseph Miller

Best Song/Recording Created for a Film

“All The Stars” from “Black Panther” (Marvel)
“Girl in the Movies” from “Dumplin'” (Netflix)
“Shallow” from “A Star is Born” (Warner Bros. Pictures)
“Sunflower” from “Spider-Man: Into the Spider-Verse” (Sony Pictures)
“Trip a Little Light Fantastic” from “Mary Poppins Returns” (Walt Disney Studios Motion Pictures)

Best Music Supervision for a Documentary

“Whitney” – Bree Winwood and Gary Welch
“The Public Image Is Rotten” – Dan Wilcox
“Elvis Presley: The Searcher” – Evyen Klean and Jennifer Reeve
“Seeing Allred” – Michelle Johnson and Thomas Golubić
“Studio 54” – Liz Gallacher

To see the full list of nominees visit HERE.

What do you think of the Guild of Music Supervisors Awards nominations? Please share your thoughts in the comments section!

Winners will be announced on Feb. 13, 2019.

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Originally from Mexico City, Carlos Aguilar was chosen as one of 6 young film critics to partake in the first Roger Ebert Fellowship organized by RogerEbert.com, the Sundance Institute and Indiewire in 2014. Aguilar’s work has appeared in prestigious publications such as The Wrap, Indiewire, Vulture, RogerEbert.com, MovieMaker Magazine, Remezcla Filmmaker Magazine, Variety Latino, Slate, Bustle, Americas Quarterly, among others. Besides his work in journalism, Aguilar regularly works as a screener for the Sundance Film Festival and a screenplay reader for Sundance’s Screenwriters Lab. Carlos Aguilar has also been on the jury at renowned festivals such the Palm Springs International Film Festival, the Gasparilla International Film Festival, the Louisiana International Film Festival, and the Los Angeles Indian Film Festival. Aguilar currently co-hosts, One Week Only, a weekly podcast highlighting independent and international cinema. He also regularly participates in panel discussions about the importance of people of color in film criticism and his experience as a DACA recipient working in the film industry.