So, does this mean momentum in the Oscar race for best original song is shifting Miranda’s way in the closing days of Oscar balloting? (The final-round voting period for the Oscars runs from March 17-22.) It may be, but you can’t draw that conclusion from this outcome. Miranda’s chief rival for the Oscar, Billie Eilish and Finneas’ “No Time to Die” from the film of the same name, wasn’t nominated here. That James Bond theme still seems to be the song to beat for the Oscar.
While the Oscar for best original score is presented only to the songwriter, the GMS award in this equivalent category is presented to the songwriter, the artist (in this case, Sebastián Yatra) and the music supervisor (in this case, Tom MacDougall).
Winning a GMS Award is no guarantee of Oscar success. “Hear My Voice” from The Trial of the Chicago 7 won the GMS Award last year. It was nominated for an Oscar, but lost to “Fight for You” from Judas and the Black Messiah.
Diane Warren, whose “Somehow You Do” from Four Good Days is also Oscar-nominated, received the Icon Award at the GMS Awards. Aloe Blacc performed her song during the fast-paced 90-minute virtual presentation. Reba McEntire sings the song on the film soundtrack.
Mitchell Leib, former president of music and soundtracks for Disney’s live action motion picture production division, received the Legacy Award, honoring excellence within the craft of music supervision.
Having some fun with the virtual format, Warren and Leib presented each other their awards. Warren said to Leib: “You’ve touched something like 400 films during your career, worked with some of the greatest directors, producers, filmmakers and songwriters, and every artist under the sun, and you are loved by your former coworkers and staff which is the greatest testament to being a boss.” Then as the camera pulled back, we could see that they were in the same room. They shared an embrace as Warren gave Leib the Legacy Award.
Later in the presentation, Leib offered words of praise for Warren: “[The Guild of Music Supervisors] are calling you an icon for a good reason. Diane, you’re the definition of the word – widely recognized, well-established as a brand name, acknowledged for distinctive excellence.”
Music supervisor Bonnie Greenberg interrupted the exchange to try and present Warren with the Icon Award, noting that she commissioned Warren to write her past five Oscar-nominated songs, but Leib eventually managed to present Warren with the award.
Mandi Collier won two awards for music supervision on the lower-budget films Sylvie’s Love and Zola.
Presenters included Miranda, Javier Bardem, Jessica Chastain, Kristen Wiig, Annie Mumolo, Ryan Tedder, Marlon Wayans, Lil Dicky, Rickey Minor, Rufus Wainwright, Wendy Melvoin & Lisa Coleman, Laura Karpman, Glen Hansard and Steve Burns.
Bahari, a female duo signed to Epic Records, performed their single “Savage.” Goapele performed “Look at Us” from Homecoming, a GMS Award nominee for best song written and/or recorded for television.
The production committee for the 12th annual GMS Awards included GMS president Joel C. High, vice president Madonna Wade-Reed and former GMS president Thomas Golubić. Show production is handled by Angelia Bibbs-Sanders from ABS Collective with talent producer Jessica Milten, and technical production by Nick Urbom from Big Push Media Group.
The Guild of Music Supervisors is a nonprofit that was founded in 2010 with the goal of promoting the role of the music supervisor in all forms of media.
The GMS Awards don’t have categories to honor film scorers. Their focus is on music supervision in film, television, documentaries, trailers, advertising and video games. For more information on the ceremony, visit GMSAwards.com.
Here’s the complete list of winners for the 12th Annual Guild of Music Supervisors Awards:
Best song written and/or recorded for a film: “Dos Oruguitas” from Encanto — songwriter: Lin-Manuel Miranda; performer: Sebastián Yatra; music supervisor: Tom MacDougall
Best music supervision for film budgeted over $25 million: Steven Gizicki – Tick, Tick… Boom!
Best music supervision for film budgeted under $25 million: Julianne Jordan, Justine von Winterfeldt – Barb and Star Go to Vista Del Mar
Best music supervision for film budgeted under $10 million: Mandi Collier, Frankie Pine – Sylvie’s Love
Best music supervision for film budgeted under $5 million: Mandi Collier, Jen Malone, Nicole Weisberg – Zola
Best music supervision – television drama: Liza Richardson – Lovecraft Country – Season 1
Best music supervision – television comedy or musical: Janet Lopez – The White Lotus – Season 1
Best music supervision – reality television: Sarah Bromberg, Stephanie Diaz-Matos, Eric Medina – Sweet Life: Los Angeles – Season 1
Best music supervision – television movie: Laura Webb, Lindsay Wolfington – To All the Boys: Always and Forever
Best song written and/or recorded for television: “F*** The Pain Away” — songwriter: Merrill Nisker (aka Peaches); performers: The Moordale Singers and Oli Julian; program: Sex Education episodes 302 and 307; music supervisor: Matt Biffa
Best music supervision for a documentary: Angela Asistio – Val
Best music supervision in a docuseries: Aminé Ramer – HBO Music Box Series: Mr. Saturday Night, Woodstock 99: Peace, Love, and Rage, Juice WRLD: Into the Abyss, DMX: Don’t Try to Understand, Jagged, Listening to Kenny G
Best music supervision in a trailer: Toddrick Spalding – King Richard
Best music supervision in advertising (synch): Jonathan Wellbelove – Apple – “iPhone 12 – Fumble”
Best music supervision in advertising (original music): Jonathan Hecht, Sarah Tembeckjian – New Orleans Jazz & Heritage Foundation, The Trombone Shorty Foundation – “Rise And Shine”
Best music supervision in a video game: Raphaella Lima, Cybele Pettus, Ben Werdegar – FIFA 22