The UK & European Guild of Music Supervisors is dedicated to raising awareness and understanding of the role of a music supervisor within the entertainment and media industries including film, television, gaming, advertising, trailers, interactive media and theatre.
In promoting the craft of music supervision, our aim is to aid the wider business through the education of the value of music, the advocacy of best practice, and support for the protection of music copyright across all mediums.
The Guild is a resource for both emerging and established professionals, as well as the wider industry, providing knowledge of the craft and the evolving media landscape. The Guild will instill a sense of community through networking opportunities and mentorship of aspiring professionals regardless of social or economic background.
Whilst operating as an independent organisation, the UK & European Guild will collaborate with its equivalent counterparts in North America to address issues relevant to music supervisors worldwide and to safeguard the credibility of the craft.
President, Co-Head of European Outreach
Maggie Rodford is Managing Director of the independently owned Air-Edel Group, incorporating one of the world’s leading music publishing and production companies, representing composers and music supervisors worldwide. The company has offices in London and Los Angeles. Maggie studied music, playing pIaino and cello and singing in choirs including the BBC Chorus. Maggie trained as a music engineer and prior to joining Air-Edel worked at both the BBC and EMI.
Maggie works closely with composers, negotiating contracts, producing, music supervising and co-ordinating music recordings. She has worked as music producer, co-ordinator and supervisor on many high profile films scores including ‘Kubo and the Two Strings’, ‘A United Kingdom’, ‘Denial’, ‘Everest’, ‘Cinderella’, ‘The Boxtrolls’, ‘Belle’, JulIain Temple’s London ‘A Modern Babylon’, ‘Jack Ryan: Shadow Recruit’, ‘Third Person’, ‘Anna Karenina’, ‘Brave’, ‘Cabin in the Woods’, ‘Thor’, ‘Jane Eyre’, ‘My Week with Marilyn’, ‘W.E.’, ‘The King’s Speech’, ‘The First Grader’, ‘Atonement’, ‘Gosford Park’, ‘Bridget Jones’ Diary’, ‘Beyond the Sea’, ‘Pride & Prejudice’, ‘Harry Potter and the Goblet of Fire’, ‘Miss Potter’, ‘Igor’, ‘The Soloist’ and ‘Agora’.
Maggie served as a PRS Director for many years and was an active member of the PRS Executive Board. Maggie was a member of the BAFTA Film committee for six years and is currently the Chairman of the BAFTA Archive, Heritage & Exhibition Committee.
Maggie is President for the UK & European Guild of Music Supervisors.
Vice-President, Head of Panels & Speakers
Duncan spent most of his teenage years drumming in an indie band before realising DJ’ing and throwing parties was more fun whilst studying for a Philosophy degree at Middlesex University.
He went on to work in A&R and artist management, where he signed and developed Kosheen, who’s debut album went on to sell over half a million copies worldwide.
Duncan then became Promotions Manager at ZZonked PR – playing a key role in launching the likes of Gorillaz, Mark Ronson, Kanye West and Amy Winehouse in the UK.
In 2007 he joined Sony Interactive Entertainment Europe as Music Supervisor and now heads up the team that licenses commercial music and commissions bespoke composed music for games produced by PlayStation Worldwide Studios, such as Gran Turismo, Dreams, WipEout and Little Big Planet. He also works on PlayStation’s global advertising campaigns.
Duncan also runs the popular sync industry networking event, Sync Drinks, founded Synced In, the portal for advertising job opportunities within the UK sync world, and speaks regularly at events and conferences worldwide.
Duncan is Vice President as well as being in charge of co-ordinating panels and guest speakers on behalf of the UK & European Guild Of Music Supervisors.
Head of Masterclasses & Forums
Iain Cooke is an award-winning and EMMY nominated freelance music supervisor for film & TV and has supervised over 20 feature films including Asif Kapadia’s Oscar and BAFTA-winning feature documentary AMY about the life and untimely death of Amy Winehouse as well as Asif’s documentary feature on Diego Maradona; Eran Creevy’s Collide starring Anthony Hopkins & Ben Kingsley; Desert Dancer starring Freida Pinto; Debbie Tucker Green’s Second Coming with Idris Elba for Film4; Funny Cow starring Maxine Peake; and Oasis: Supersonic about the Gallagher brother’s rise to fame from unsigned band to their monumental Knebworth gigs.
Iain also supervised the TV adaptation of Hanna for Amazon (series 1 & 2); Gangs of London, a 10 part thriller written and directed by Gareth Evans for Sky Atlantic & HBOMax; Informer, a six-part thriller for BBC/Amazon; the four-part animated adaptation of Watership Down for BBC/Netflix; and the 8 part adaptation the Alex Rider books for Amazon.
Iain’s other TV supervision credits include John le Carré’s multi-EMMY nominated The Night Manager, series 3 & 4 of Golden Globe & EMMY nominated Luther starring
Head of Diversity & Inclusion
Abi is the founder and managing director of Leland Music and Leland Originals.
Starting out in her teenage years working as a runner in film production and compiling albums for record labels, Abi progressed into music supervision at the age of nineteen. She quickly established herself as one of the UK’s leading feature film music supervisors working with renowned directors including Kevin Macdonald on the award-winning films “Touching The Void”, “The Last King of Scotland” and “How I Live Now”.
Branching out into commercials and brands, in 2005 Abi set up Leland Music. The early days saw her establish the company working on celebrated campaigns for Sony, Nike, Lloyds and Honda. She has also supervised every John Lewis Christmas campaign since 2010, with the music being a key part of their highly anticipated launch each year.
Fast forward to today and Abi has built a unique and highly-esteemed music supervision team working closely with some of the world’s most successful filmmakers. Sister company Leland Originals sits alongside Leland Music, representing a roster of established and emerging Film & TV composers.
Recent credits include Nike ‘You’re It’, Netflix docuseries ‘Formula 1: Drive To Survive’, Netflix drama series ‘Top Boy’, and the forthcoming Steve McQueen directed BBC series ‘Small Axe’.
Head of Events & Sponsorship
Rupert is the Creative Director of Atlantic Screen Music, and supervision agency, Redfive, where is he also co-founder. Ru started his career in music publishing in 1998, initiating the synchronisation departments at both Music Copyright Solutions, and latterly Kingstreet Media. Subsequently, as a freelance music supervisor, Ru worked on various global advertising campaigns with brands including Marks & Spencer, Nike, as well as the Discovery Channel and National Geographic. After four years as a freelance music supervisor, in 2009 joined Imagem (now Concord) as Head of Film.
During his time at Imagem, he represented the Rodgers & Hammerstein and Boosey & Hawkes catalogues, as well as numerous artists and bands on the contemporary roster including Daft punk, Mark Ronson, Pink Floyd, Vampire Weekend, Genesis and The Stone Roses. During his five-year tenure, Rupert worked with brands such as Reebok, Skoda, Next, Iceland, Hyundai and Tesco amongst others, and several successful US, UK and European based films. He joined Metropolis Group in 2014 as Creative Director and founded the publishing division (Metropolis Music Publishing) and quickly secured an impressive repertoire of artists, bands and composers, racking up multiple synchronisation placements and campaigns. Having also founded and set up Metropolis Music Supervision, in 2016 he won both Best TV Advert and Overall Sync of the Year as music supervisor at the MusicWeek Sync Awards.
Since co-founding music supervision agency Redfive, Ru’s film and TV projects include Golden Globe, BAFTA and Oscar-nominated projects films such as The Wife, The Trip and McQueen, also including recent films such as Worth and Mothering Sunday, where he has both supervised the commercial music and coordinated the scores. Upcoming credits include the new Roland Emrich space epic Moonfall, and Number Nine Film’s adaptation of the Kazuo Ishiguro novel, Living, starring Bill Nighy.
Ru is co-founder and senior board member of The UK & European Guild of Music Supervisors.
Head of Education
Matt is a Music Supervisor, specialising in source music research and copyright clearance.
After buying T-Rex’s “Ride A White Swan”, Matt began stealing from his parents’ record collection and watched taped episodes of “The Old Grey Whistle Test” more times than was strictly healthy for an impressionable young mind. He spent his seventeenth year listening to nothing but Tom Waits’ “Rain Dogs” and “Swordfishtrombones”, something he is convinced is responsible for his belief that Radiohead’s “Kid A” is a nice pop record.
Matt joined Air-Edel in 1996. He was quickly recognised as something of an anorak / musical know-all, and cut his creative teeth sourcing music for commercials, such as Jonathan Glazer’s “Guinness – Swimblack” campaign. During this time he began cultivating relationships with key members of the music industry, an activity also known as “ligging”. This stood him in good stead when he began clearing songs for feature films, but did nothing for his health. As well as having a disturbingly encyclopaedic knowledge of the history of popular music, he has garnered a reputation for being a canny negotiator.
He considers one of the high points of his career to be “Harry Potter & The Goblet Of Fire”, for which he put together a wizarding rock group consisting of Jarvis Cocker from Pulp, and Jonny Greenwood and Philip Selway from Radiohead. He’s also very quietly proud of being the man responsible for putting Nick Cave’s “O Children” in a Harry Potter film.
Leland Music & Head of the Unions Committee
Ed Bailie is a music supervisor & director at Leland Music and Leland Originals.
With a background in music publishing, Ed previously headed up the UK sync teams at both Blue Mountain Music (U2, Bob Marley, Toots & The Maytals, Kano, John Martyn etc) and Bug Music (Johnny Cash, Bruno Mars, Kings of Leon, The National, Grizzly Bear etc).
In 2016 + 2017 Ed was awarded Advertising Music Supervisor of the year at the Music Week Sync Awards.
Music supervision highlights include television series Top Boy (Netflix), Formula 1: Drive To Survive (Netflix), Small Axe (dir. Steve McQueen), multi-awarding winning advertising campaigns John Lewis ‘Bohemian Rhapsody’ & ’The Bear & The Hare’, Paralympics ‘We’re The Superhumans’ and feature films ‘Ronaldo’ (dir. Anthony Wonke) and Christmas In A Day (dir. Kevin Macdonald).
Ed is Head of the Unions Committee at The UK and European Guild of Music Supervisors.
Wake The Town
Dom has worked in the music industry for over fifteen years. He began working for independent Labels Ultimate Dilemma, & Talkin Loud, and then Sony Music’s college department as the regional scout for the South Coast Of England where he was responsible for promoting Sony artists to student radio and press across the region. He then moved to Universal Island records in the A&R department, as a scout tasked with finding new acts/ bands and developing them, at the same time he also set up the Island records college initiative overseeing 26 student reps over the country.
After leaving Island records he moved in the world of Sync & Brands joining TBWA/stream, Omnicom’s brands entertainment arm as a music supervisor, he then went to BBDO to set up the stream/AMV division in 2005. In 2007 he left to join Platinum Rye Entertainment and run its UK division working with clients all across Europe, including overseeing all of P&G music buying and music activations for western Europe across all the P&G portfolio.
In 2016 he left PRE with all his colleagues to set up their own shops called Wake the Town & Theodore. They have a team of 10 people and specialise in any and all aspects of Brands engagement with music.
Sarah is an independent music supervisor for film & TV.
She studied at the University of Arts London focusing on the history of cinema, scriptwriting, music in film and the development of popular culture through both art forms and has since enjoyed a portfolio career that has evolved from music journalism to music supervision via A&R management.
Her credits include Oscar and multi-award-winning “The Theory of Everything” (Director: James Marsh), Netflix drama “The Crown” alongside award-winning documentaries “Notes on Blindness” and “The Reason I Jump”.Forthcoming projects include feature film “Louis Wain” (Director: Will Sharpe) for Studio Canal/Amazon Studios, “Supernova” (Director: Harry Macqueen), Searchlight Pictures “The Untitled Murder Mystery” (Director: Tom George) and Season 5 of “The Crown”.
Karen is the co-owner and founder of HotHouse Music formed in 2002, alongside her business partner Becky Bentham.
The HotHouse team are equally at home working with large American crews on Hollywood scores as taking care of smaller British productions and recording in Eastern Europe. They are able to place teams of any nationality to work in any country.
HotHouse provide requirements common to most score recordings (studio, engineer, equipment hire, musicIains, arrangers, music editors, conductors, programmers, copyists, writing rooms) and much more besides. They also supply experienced PAs and runners and take care of all the day to day requirements of the crew including accommodation, transport and entertainment.
HotHouse’s vast list of contacts allow ease of song clearance worldwide and its creative team can provide you with endless ideas for your film soundtrack. HotHouse can also work to secure a soundtrack deal for your film. There are numerous other services HotHouse provide which fall into the music supervision category. Not least is the organisation of any pre-records your film may need. As well as putting together the recording team and musicIains we can provide musical coaching for members of your cast, find appropriate musicIains and established artists for on camera work, supervise any music teams required on set and monitor on camera sync issues. HotHouse can also assist with the sourcing of specialist musical instruments for on camera use.
Dan is Managing Director of Native Music, he has worked in or around the advertising and music industries for nearly twenty years. Dan’s background as an agency TV Producer and then advertising composer led to him bringing the skills together and spending just over six years as Head of Music at RKCR/Y&R. While there he brought a focus to the role of music in many of their campaigns.
In 2013 he set up Native and in that time has supervised projects of all sizes for clients such as M&S, Lloyds Bank, BBC Sport, Honda, Virgin Atlantic and many more. Some of Native’s recent and most well known work includes BBC Rio Olympics campaign featuring Jamie N Commons, M&S Food’s use of “Rather Be” by Clean Bandit, and M&S Christmas 2016 “With Love” – with a score composed by Rachel Portman.
Ian’s extensive knowledge and experience of music and the industry is vast. His expertise in researching tracks and handling music clearances and problems solving budgetary issues, in addition to his strong ties with all the major and independent record labels and publishers has inevitably has made him one of the the first ports of call for all the a number of film directors and producers. Before becoming an independent Film Music Supervisor Ian built his strong reputation through his work as Head of Film and TV for Polygram Records; Head of Film, TV and Advertising and ultimately Director of the department at Warner/Chappell Music Ltd. With many successes in the world of music for advertising.
On the film side, Ian’s first film as supervisor was Lock, Stock And Two Smoking Barrels, which resulted in a double platinum soundtrack and a strong collaboration with Brit director Guy Ritchie and producer Matthew Vaughn. Ian was therefore Ritchie’s and Vaughn’s first choice for the follow up feature Snatch and Ian has worked together on all other subsequent films they have both made. From 2004 he went freelance and has enjoyed huge success as a Music Supervisor with credits from Control (Anton Corbin) Joe Strummer: The Future Is Written (Julien Temple) Kidulthood & Adulthood (Noel Clarke) Kick Ass (Matthew Vaughn) & 127 Hours (Danny Boyle) and included TV shows such as Red Riding for Revolution Films and Skins for Company Pictures.
Ian is now at Sony Music as Director of Film & TV and has continued to see success in the world of advertising, TV, films and computer games. Ian continues to run a freelance music supervision consultancy and works on a few carefully chosen projects every year. These include projects with Matthew Vaughn, Guy Ritchie, Ben Wheatley, Steve McQueen, Alfred Bailey, Julien Temple, Johnny Owen & Chris Atkins. He has also exec produced the feature film Sex, Drugs & Rock N Roll about Ian Dury and the upcoming documentary Who Killed The KLF with several other projects in development.
Most recently; Kingsman 1 & 2 (Matthew Vaughn) Eddie The Eagle (Dexter Fletcher) , High Rise & Free Fire (Ben Wheatley) Sunset Song & Quiet Passion (Terence Davies).
Gary is an independent film music supervisor specialising in feature films and documentaries.
He won Film Music Supervisor of the Year at the Music Week Sync Awards in 2016 and has been nominated for Best Music Supervision for a Documentary at the 2017, 2018 and 2019 Guild of Music Supervisors Awards.
His work has seen collaborations with leading directors such as Werner Herzog, Kevin Macdonald, Edgar Wright and Sophie Fiennes. Film credits include ‘Northern Soul’ (winner of Best Film at 2015 NME Awards), Oscar-nominated short film ‘Pear Cider and Cigarettes’, and ‘The More You Ignore Me’ an adaptation of Jo Brand’s novel set in the 1980s. Gary has worked on many music documentaries including ‘Whitney’ and ‘Eric Clapton: A Life in 12 Bars’ both of which were shortlisted for Grammy Awards in 2019.
Starting out in the music industry in 1994 via record distribution, he went on to work in club promotion and label management. Eventually joining PRS for Music in 2008 and then into sync licensing within music publishing. In the past Gary has also been an active DJ, club promoter and radio presenter.
Claire is an independent music supervisor for film and TV.
Originally starting out as a film composer, she then spent two years in music management working with artists such as Yusuf Islam, (Cat Stevens), Lemon Jelly, DJ Paul Oakenfold & film composer Trevor Jones.
She made the move into music supervision in 2008, working on films such as ‘Me and Orson Welles’, ‘Wild Target’ & cult hit ‘The Disappearance of Alice Creed’.
Later credits include Working Titles multi-award-winning Stephen Hawking biopic ‘The Theory of Everything’, Ricky Gervais ‘David Brent: Life on the Road’, BBC Films critically acclaimed ‘Testament of Youth’, Hera Pictures gripping drama series ‘Temple’ for Sky, Mammoth Screens Agatha Christie adaptations ‘The Pale Horse’ & ‘The ABC Murders’ written by Sarah Phelps & J Blakesons darkly comic drama ‘I Care A Lot’.
Current projects include Story Films four-part series ‘My Name is Lizzie’ for C4, Green Eye Productions true story ‘Genuine Fakes’ and Totally Tom Films comedy horror ‘All My Friends Hate Me’.
Claire was also nominated for Best Sync, TV series in the 2020 International Music and Sound Awards for ‘The Pale Horse’ and in the 2017 International Music and Sound Awards & Music Week Sync Awards for the haunting film noir ‘City of Tiny Lights’.
Claire is a member of BAFTA & PRS
Twenty Below Music
Clare is a Music Supervisor at Twenty Below Music, the music arm of audio post-production company 750mph, specialising in composition, creative search and music licensing across film and advertising. Twenty Below Music’s recent work includes campaigns for Burberry, Rightmove, Honda, Nike, Lurpak and more.
Dedicated to increasing representation and career access opportunities across the music industry, in 2021 Clare founded the NXT-Gen Scholarship programme in collaboration with the Music Publishers Association. Clare is Global Editor of shesaid.so, an international community of women, gender minorities and allies in the music industry. She is also a Google RARE 2020 Graduate for future creative leaders, Alternative Power 100 Music List 2020 Honouree and MPA Richard Toeman Scholar for 2019/20.
Prior to joining Twenty Below, Clare managed Sync and Licensing at independent music publisher Manners McDade, during which she represented the contemporary classical and electronic roster of artists including Nils Frahm, Poppy Ackroyd, Max Cooper, Houndstooth catalogue and more. Before that, Clare worked in the digital commercial team at Warner Music International where she also ran the first-ever Warner Music UK Choir.
Clare studied Classical music, holds Grade 8 in piano, flute and viola, and speaks fluent French having lived in Paris.
Danny Layton is a music supervisor & music rights specialist with over 18 years of experience spanning hit dramas, award-winning documentaries and global non-scripted formats.
Prior to launching Danny Layton Music in 2021, Danny led the Music Department for Endemol Shine Group, the world’s largest independent TV production and distribution company. As Group Director of Music & Secondary Rights, Danny oversaw global creative & commercial strategy, driving increased revenues from music activity whilst also providing hands-on music supervision across a wide variety of projects.
Danny combines his genuine passion & creative energy with a wealth of knowledge & experience to help content producers to realise their vision through music.
Carmen Montanez-Callan is an independent Music Supervisor specialising in Film & TV. She has enjoyed 15+ years success in placing music to picture and picture to music across Film, TV, Advertising and Music Video.
Carmen’s career began in 2004 as Head of Music at Academy Films, exec producing a roster of directors for Music Video, including Jonathan Glazer and Lynne Ramsay. She then joined Island Records as Music Video Commissioner and worked with artists including Amy Winehouse, Paul Weller and the Sugababes.
Carmen later moved into Music Supervision and has since supervised TV dramas including Bafta and RTS winning Murdered for Being Different, Bafta winning Don’t Take My Baby, feature films Wildfire and Bull, and feature documentaries Black Power, A Northern Soul and They Will Have to Kill Us First, among many others.
Carmen’s hands-on background in TV Production, as well as the Music Industry, gives her a full working knowledge and in-depth understanding of the processes of both industries and places her in a unique position as a Music Supervisor.
Ciara is a music supervisor who works across both creative research and source music clearance. She joined the Air-Edel team straight out of university (where she practiced her playlist-honing abilities as a brand manager for Spotify). Upon arriving at Air-Edel she was quickly inducted into the world of sync, assisting on projects such as Channel 4 & Netflix’s doo-wop heavy ‘The End of the F***ing World’ and the John Hughes-inspired ‘Sex Education’, both of which have enjoyed considerable praise for their use of music, with numerous tracks being featured on The Hollywood Reporter’s Billboard Top TV Chart. Her first solo supervision venture was Channel 4’s 90s’ banger-centric ‘Derry Girls’.
With credits on over 150 episodes of television and numerous films, Ciara enjoys an excellent working relationship with an extensive roster of labels, publishers and managers, as well as possessing finely tuned(!) research skills. Her credits include Merman’s ‘This Way Up’ – the script-writing debut from Irish comedian Aisling Bea; Ricky Gervais’s highly successful ‘After Life’; Katherine Ryan’s ‘The Duchess’ for Netflix; and Michaela Coel’s critically acclaimed ‘I May Destroy You’, with Ciara being featured in the New York and LA Times for her work on the latter.
She has also enjoyed success working as a supervisor on projects alongside some music industry heavyweights: with Norman Cook (Fatboy Slim) on Julien Temple’s ‘Ibiza: The silent movie’, and with pop star Charli XCX on ‘I’m with the Band: Nasty Cherry’, a Netflix docu-series about an all-female rock band, produced by the Academy Award-winning ‘Grain Media’.
Catherine is an independent music supervisor specialising in television drama and
In 2020, Catherine was nominated for an EMMY for Outstanding Music Supervision for her
work on Killing Eve, with her collaborator on the show, producer and BAFTA-winning
composer David Holmes. They picked up the Hollywood Music and Media Award for the
second series of Killing Eve the previous year. Other awards include the 2018 Music Week
Sync Award for Outstanding Overall Soundtrack for Lynne Ramsay’s feature You Were Never
Really Here, starring Joaquin Phoenix.
Other recent credits include BAFTA nominated feature His House for New Regency, Riviera
for SKY, David Nicholls’ adaptation of Us for BBC One, , Doctor Foster spin-off LIFE and
HBO’s Brexit: The Uncivil War starring Benedict Cumberbatch.
Catherine studied Music and Sound Recording on the prestigious Tonmeister course at the
University of Surrey, before starting her career at music supervision and composer agency
HotHouse Music, working on numerous film and TV projects including Les Misérables, Sing
Street, The Inbetweeners Movie 1 + 2, Wolf Hall and London Spy. She moved to Faber Music
as Head Of Film and TV in 2017, before branching off with her own music supervision
company, Eyeline Music, in 2020. Catherine continues her role as a composer agent at Faber
Music, representing a boutique roster of film and TV composers.
A professional music supervisor is employed to oversee various aspects of music related elements of a project or production, such as film, television, gaming, advertising, trailers, interactive media or theatre. Their responsibilities include but are not limited to; coming up with and developing creative ideas to enhance the visual media; collaborating with directors / producers / editors / music editors / executive producers / writers etc; negotiating and securing all legal rights of the music, prior to it being used; managing all financial aspects and budgets of the music line; delivering to deadlines; managing and coordinating music related talent including composers and on-camera performances; assisting in the composer selection process, negotiating composer agreements on behalf of production, communicating with, and keeping the composer updated on source related matters and assisting in the process through to scoring and mixing; finalising of all paperwork for delivery including cue sheets, musician / singer agreements and fully executed music licences.Join us