Music Supervisors

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.

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

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
independent films.
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.