#Music Supervisor Maggie Phillips

[spenglernot]

THEY EDIT FINE THINGS WELL: OFMD KISS AND KNIVES SCENES (S1 E9 & S2 E3) COMPARISON

Marveling at the OFMD editors who did so much more than just reuse Schumann’s Kinderszenen, Op. 15: VII. And Erik Satie’s Gnossiennes No. 5 from the season 1, episode 9 kiss scene in the season 2, episode 3 knife pulling scene.

Unedited audio from both episodes plays simultaneously in this comparison video. Take a look and a listen at what happens, with Gnossiennes No. 5 from 0:15 to 0:52. The music is playing twice, but you only hear it once because it matches perfectly. The way the verbalizations and dialogue work together are the kill-me-now gut punch taste-of-orange frosting on the best cake ever.

It's beautiful.

[gregorycddie]

oh my god izzy girlies........ they knew we had it too good for too long................

[gentlebeardsbarngrill]

06/25-26/2024 Daily OFMD Recap

TLDR; Rhys Darby; Vico Ortiz; Samson Kayo; Rachel House; Nathan Foad; Lindsey Cantrell; Articles; Adopt Our Crew Raffle Reminder; Fan Spotlight: Cast Cards; Never Left Podcast; Love Notes; Daily Darby / Today's Taika;

== Rhys Darby ==

Rhys is out helping to advertise Final Fantasy XIV: DawnTrail!

Source: ffxiv Instagram

== David Jenkins ==

Chaos Dad absolutely adores one of the submissions for TealOranges & Garlic Soup week! Shonyadraws made a lovely pixel animation!

View this post on Instagram

A post shared by шоня | shonya (@shonyadrws)

Source: David Jenkins' Twitter

== Vico Ortiz ==

Wow Vico is SO busy. They have been doing drag shows with ThemFataleDragKings and EnbyBruje this past weekend. You can check out more reels and videos on the ThemFataleDragKings IG.

A new episode of The Stars Too Fondly is out, voiced by Vico!

Vico was also recently our at the premier of their film Spark!

Vico will be on with the 25th Anniversary Media Summit this Friday! Learn more on Nalip

Source: Vico Ortiz' Instagram

== Samson Kayo ==

Samson out at the premier of Supacell!

Source: mrmsalami's Instagram

== Nathan Foad ==

Just some lovely Nathan photos!

Source: Nathan Foad's IG

== Linds Cantrell ==

Lindsey's new movie she worked on will be airing at LA Shorts: International Film Festival on July 19th, 7:45 pm! To learn more, visit LA Shorts

Source: Linds Cantrell IG

== Rachel House ==

Rachel has also been very busy! Did you know she's a new member of the Academy?

Source: Rachel House's Instagram

Rachel was also on the For Your Reference Podcast (you'll recognise the interviewer from some of our interviews with Rhys and Taika)!

Source: For Your Reference Podcast Instagram

And finally Rachel was also on The Jess Row Big Talk Show as well! Check her out!

Source: Jess J Rowe's Instagram

== Articles ==

Rhys Darby Hosts Your New Favorite Wildlife Series in 'The Hungry Games: Alaska's Big Bear Challenge' Trailer [Exclusive] (Thank you to Our Flag Means Fanfiction for finding this and sharing it!)

Emmy Contender Music Supervisor Maggie Phillips Talks Music Choices

Source: Adopt Our Crew Twitter

== Adopt Our Crew Raffle Reminder ==

Now it's technically only 2 days left to enter @adoptourcrew's Raffle! https://docs.google.com/forms/d/e/1FAIpQLSccxjiQiKYZhk7QPeRTk2dn8XQlJ4sZursdlIkYFLXJy3vg4w/viewform

Source: Adopt Our Crew's Tumblr

== Fan Spotlight ==

= Cast Cards =

I am quite behind on @melvisik's Cast Cards tonight so there's 3 tonight! First up is Jack Sainte-Rose, one of the associate producers! Thank you Mel as always!

The next two: Martin D, and Amanda M. were guests at the wedding that Ed and "the Kids" crashed.

Source: @melvisik's Twitter

= Never Left Podcast =

There's a new episode of Never Left out! This week is discussing physical touch! Listen to them on your favorite podcast platform here: https://linktr.ee/neverleftpodcast!

Source: Never Left Podcast Instagram

== Love Notes ==

Hey there lovelies! Thank you for your patience with me. Been a lot going on here at home, and in life. I know there's so much going on for yall as well. Over the past few days we had "EdInASkirt" which I'm so proud of all of you for defending Ed, and Stede in allowing them to wear what they like. I love to watch the electricity of this fandom flow and spark from one thing or another. The reactions of it to events that upset-- you rally together, and you spread love, and you fight back. Standing up for things we love, for the things that bring us joy, are so very important. You make the world a more beautiful place by sharing your passion with it. Thank you for sharing that passion with me, with us, with the fandom. Don't ever lose that spark <3

== Daily Darby / Today's Taika ==

No real theme tonight lovelies just gorgeous gifs of our favorite dudes. Tonight's gifs courtesy of my dear friend @ofmd-ann!

[queeraspirates]

new interview with Our Flag Means Death music supervisor Maggie Phillips, heads up that she reveals another season two song in the interview!

[i-think-im-so-so-but-cosplay]

They choose the perfect song always, every time.

Thank you, Maggie Phillips and crew!

Anyone else just keep singing “Baby, baby, baby!” in a mock version of Prince’s voice sporadically all day? Surely not just me.

[merchymynydd]

Is Maggie Phillips still music supervisor for OFMD? Because she's still killin' it.

Heard two chords and don't do me like this Maggie I cannot with the Kate Bush right now

[snake-snack-stede]

You know what I'm very upset to have not seen anyone talking about is that Maggie Phillips posted "Songbird" by Fleetwood Mac in her instagram stories the same day that we got Ed in pearls. It's also off Rumors, and kind of screams Ed and Stede('s first time ballad).

OH FUCK. for those who don't know, she's the music supervisor. anon you're going to kill me. I love you.

[thecelestialtoymaker]

I don't think I'll ever get over end of episode three of season two. This woman's work by Kate Bush invokes an emotion in me that I can't describe and as for Run From Me in episode two, just fuck off at that point. That scene is perfection. As much as Maggie Phillips Slayed this season. David and Taika, are directly responsible for my therapy bills.

[londonspirit]

It's hard to wrap our heads around the fact that Max's Our Flag Means Death has already reached its Season 2 finale — serving as proof that life for pirates can be just as tumultuous and unpredictable on land as it is on the open sea. Although Stede (Rhys Darby) and Ed (Taika Waititi) saw themselves reuniting in epically romantic fashion on a beach (before having to jump in and help Zheng [Ruibo Qian] swordfight a bunch of foes, that is), their plan to reassemble the crew of the Revenge and take back control of the Republic of Pirates didn't come without some losses. Namely, Ed's first mate and loyal right-hand man — and newly-dubbed unicorn of the crew, Izzy Hands (Con O'Neill) — fell to a gunshot wound, but didn't slip away without some important parting words that Ed himself needed to hear.

Now, the future of the crew is looking divided once more — but on a somewhat happier note this time around, as Stede and Ed are settling down in that innkeeper life while watching the Revenge sail off into the sunset under the command of Frenchie (Joel Fry), and all set to the tune of Nina Simone's swelling and ultimately hopeful cover of "The Times They Are a-Changin'." It's unclear where the show will go next, but ahead of the finale, Collider had the chance to sit down with Our Flag Means Death music supervisor Maggie Phillips to break down some of the best needle drops, from O'Neill's cover of "La vie en rose" to making Kate Bush the unexpected artist of Season 2 to collaborating with show creator David Jenkins and so much more.

COLLIDER: Before getting into some specific episode moments, I wanted to ask you about the teaser trailer for Season 2. Something that a lot of people were talking about was that Prince song that gets used ["The Beautiful Ones"]. Did you all get to decide what song that was in the trailer?

MAGGIE PHILLIPS: We did. That was a song that David [Jenkins] asked me about. I don't know if he asked me about Prince or that song in particular, but that's the first song that David and I were like, “This is the song for the show,” before trailers were even thought about. We tried to get it into Season 1, and there just wasn't a spot for it. I'm a huge Prince fan and have been since high school. For Halloween, when I was 17, I dressed up as a B-side Prince song. It was a song called “Scarlet Pussy.” It was a red cat. [Laughs]

Prince has been kind of off-limits for my whole career. Prior to his death, he was very picky and very expensive, and it was just something I was never really able to place. Then, when David brought it up, it was like two-and-a-half years ago, his estate was still being settled in court, and I was like, “I don't know if we can use it,” and then we were trying to use it, and it didn't work out. Long story short, we tried again to place it in Season 2, and there just wasn't a spot for it. So then, when we were doing the trailers, I don't normally get consulted for those, but David asked me to watch it and asked my opinion. Since then, Prince's estate had been settled, and I had heard that, actually, his estate wanted to place his music. It was perfect, and I'm glad that the first time I placed a Prince song was for Our Flag Means Death. That was a song we're very happy about.

Have there been any big instances where a song doesn't fit somewhere in the season, you can't find a place for it, or where you've tried to get your first choice for this show specifically, and it hasn't been able to happen for whatever reason?

PHILLIPS: No, none that come to mind. I don't think we've had any denials. The big moments in Season 1 we cleared before they even started shooting. Cat Stevens and the Fleetwood Mac were costly, and that meant cutting corners elsewhere, but we got everything we wanted. We weren't shooting for the stars that much. At this point, in Season 2, it's been easier to get yeses, I will say that. Kate Bush in Episode 3, her manager was very specific. Kate wanted to be a part of it, and she was very excited about the use and stuff. The show is so popular, with enough of an audience that people want to be a part of it, which is very exciting.

When I talked to David before the season, he said that he always picks a song and that's the song that's all-encompassing of the whole season. For this season, he said Kate Bush, "This Woman's Work." Obviously, we get it in a very pivotal moment in Episode 3. I wanted to ask you about the conversations around that song and when it was going to be used.

PHILLIPS: It recontextualizes the song and the lyrics to make it work with that scene. That song was written for a movie, She's Having a Baby, with a totally different subject and lyrical subject in mind. The funny story about that song is I advised against it when he told me he wanted to use it. There were two reasons: the more egotistical reason was I had placed it in The Handmaid’s Tale previously, and I hadn't actually pitched that song. I had pitched “Running Up That Hill” for that episode, but the showrunner decided to use “This Woman's Work,” and I was like, “That's a bold choice. Some people are going to love it, some people are going to hate it.”

More importantly, it was right after the Stranger Things Kate Bush phenomenon, and I was like, “Dude, we are going to look like we are copycats, that we didn't have an original idea, and I'm worried about the backlash there.” David knows what he wants, and he was like, “This is our show. It's an original, and this is the right song for this moment.” Taika wanted to use the song and was very attached to the song, too. So it was a Taika/David collaboration, that song.

I remember talking to my team and saying that this could be potentially embarrassing, this song in this spot, but then, I watched it. I read the script. I'm not privy to the conversations about how they're gonna shoot it and what part of the song they're gonna use, but they had obviously figured that all out — because I watched it and really was emotionally charged. I remember getting chills, and I emailed David right away, and I was like, “You were so right. That song is gorgeous there.” I feel like it changes the song. It becomes a new creative moment. That's what's so cool about this job. It's rare, but sometimes you'll put a song to picture, and the song will change, and the picture will change, and it's sort of that movie magic, and I feel like they did it there. So I just was along for the ride and got to eat my words

Speaking of a music moment that gave me chills, Episode 2, that Timber Timbre song, “Run for Me,” bookends the episode and is used in very different contexts with very different parts of the song. At the beginning, it's Blackbeard wallowing and depressed, and at the end, it's this very sinister, dark place. What was the process behind choosing that song and also choosing to use it in two very different places?

PHILLIPS: That was all David. I wish I could claim that that was me. I read it in the script. I'm a fan of Timber Timbre; I put them in stuff years ago. I’ve followed their career since they started, so I knew the song immediately and read the script with that song in mind. No, [that was] just the genius of David Jenkins.

How often are you getting scripts from [David] where the song choice is already in there?

PHILLIPS: It's rare, because typically he asks me before he writes a script. Typically, he’ll email me while he's in the writers’ room. In fact, I'm sure he did about this one because it was so intricately woven into the script, and he's not going to write it without knowing that we can clear it and can afford it. Since I know Timber Timbre, I've used their stuff before, I was like, “Go for it. It'll be affordable and easy to clear.” In that regard, he might have asked me for some [other] stuff, and I'm like, “Stay clear.” Those might be the only denials we've gotten, from me, but there aren't many these days. There used to be a lot more that were hands-off. These days, people want to be seen.

I also love the use of “Strawberry Letter 23” during the raid on the wedding in the first episode. It's juxtaposed against the violence and the terror of the moment.

PHILLIPS: It's such a sweet love song. The lyrics are so innocent and sweet, but it's like the way that Shuggie Otis — it's swagger and cocky and just whimsical and has that strong melody and the instrumentation. That was on one of my playlists for Season 1, and then [David] wrote it in. All the big moments in Season 1 and Season 2 that are on cameras like that, those don't come in post. Those are when he's writing the scripts, so there was never any other song that was attempted for that spot; that was always going to be that song.

With that in mind, what's the song at the end of that episode, where Ed and Stede are both looking at the same moon and having their respective conversations?

PHILLIPS: It’s "Pygmy Love Song" by Francis Bebey. It’s supposed to capture the pain but inherent beauty of true love. It’s romantic but tragic at the same time, like Stede and Ed’s love story —at this point in the story.

I also wanted to about Con [O’Neill] singing “La Vie en rose” in Episode 6. I feel like that's a moment that fans are going to be really excited about. I personally did not know he could sing!

PHILLIPS: I don't know if he knew he could sing either. That was a very involved clearance. It took a long time to clear. Anything that's international, and this was through the French office, takes a long time. Americans are very quick, for better or for worse, and the French office is not. We started clearing that, and it took us months. We were getting to the point where we were like, “Are we gonna be able to use this?”

Then Con was anxious about singing in the first place because it's not something he does normally, and then was anxious about singing in French. So we had to change the clearance because originally scripted, we wanted it to be in French, and going back to English, that actually was a whole other boring clearance story. To get it approved in English was harder, but we got it. Then, while we were waiting for approval, the actor had taught himself phonetically how to do the French version, and we recorded both options, and the French was so effective that that's what we stuck with for most of it.

I love that moment. [Con]'s such a good actor. Oh my god. That episode is just really powerful, and that song works really well Sometimes when you're not a trained singer, but you're an actor, you're acting the singing as opposed to singing it for the aural experience, so it becomes more emotional in a way. You're not worried too much about pitch and getting it right, and so it's more about the character who's singing it. Especially when you're singing it not for a soundtrack but in a scene. They're not singing it for the performance, they're singing it for the cathartic release, and it is going to be more emotional. That's why I think it's so powerful, the way he does it. Yeah, I love that scene.

Do you have a personal favorite song choice from Season 1?

PHILLIPS: My favorite, because I love the way it works, and it's also just for me a personal triumph, [was] to get Moondog in at the end of the pilot. It was such an odd choice. I always like it when I get in stuff that people don't know. I love the Beach Boys — it's a song that many people don't know, “Our Prayer,” in Season 1, Episode 4, where they meet. I love the “Seabird” song by the Alessi Brothers, I think it's the end of Episode 5 in Season 1.

Kate Bush has become one of my favorite moments [in Season 2], as a moment singular to just the show and the story themselves. It was also the visual of Stede coming down as a mermaid. It's just so absurd, yet it’s so beautiful and so powerful at the same time. I don't know how they do it, but they do it. I could watch that Fleetwood Mac scene over and over and over again in the end, the shot pulling back of them laying on the ground, and Stede goes, “You've come back,” and Ed is like, “I never left,” and then the wink. I love that moment so much. This show is just hands down one of my all-time favorite shows I've ever gotten to work on.

Everyone I've talked to about working on this show is having an absolute blast.

PHILLIPS: I also think — I'm always talking highly of David, but he deserves it — it comes from the top down. That dude is super creative and very collaborative and also just kind, and that's rare when you're a showrunner/creator. He makes it such a pleasurable, fun experience with a lot of hard work, which is hard to do — to make people work really hard and challenge themselves, but then they want to do it because it's fun and rewarding, not because someone's cracking the whip.

[biggayenergypod]

Out tomorrow! Make sure to follow and subscribe so you don't miss our conversations with the amazing music supervisors of Red, White, and Royal Blue, Maggie Phillips and Kristen Higuera 💜

[spenglernot]

THEY EDIT FINE THINGS WELL: OFMD MOONLIGHT SCENES (S1 E5 & S2 E5) COMPARISON

Both scenes, with audio, play simultaneously. There is interplay with the timing of dialog and music symmetry (Gnossienne No. 5), until about 0:26, where the music falls out of synch for a few seconds (but still sounds lovely). The S1 E5 scene ends with Stede and Ed walking away from each other while S2 E5 scene ends with Ed and Stede together. Love that.

[ulkaralakbarova]

The story of Florence Foster Jenkins, a New York heiress, who dreamed of becoming an opera singer, despite having a terrible singing voice. Credits: TheMovieDb. Film Cast: Florence Foster Jenkins: Meryl Streep St. Clair Bayfield: Hugh Grant Cosmé McMoon: Simon Helberg Kathleen Weatherley: Rebecca Ferguson Agnes Stark: Nina Arianda Phineas Stark: Stanley Townsend John Totten: Allan Corduner Earl Wilson: Christian McKay Carlo Edwards: David Haig Dr. Hermann: John Sessions Kitty: Brid Brennan Arturo Toscanini: John Kavanagh Mrs Vanderbilt: Pat Starr Mrs. James O’Flaherty: Maggie Steed Mrs Oscar Garmunder: Thelma Barlow Mrs EE Patterson: Liza Ross Baroness Le Feyre: Paola Dionisotti Mrs Patsy Snow: Rhoda Lewis Lily Pons: Aida Garifullina Augustus Corbin: David Mills Carlton Smith: David Menkin Cpl. Jones: Sid Phoenix Pvt. Smith: Tunji Kasim Orlando Adams: Carl Davis Microphone Engineer: Lloyd Hutchinson Elevator Operator: Richard Kilgour Ernest Ziegler: Jonathan Plowright Donaghy: Josh O’Connor Tallulah Bankhead: Nat Luurtsema Colonel: Ewan Stewart Gino: Cameron Cuffe News Vendor: John Guerrasio Edgar Booth Cunningham Jr: Elliot Levey Clifford B. Thornton III: Danny Mahoney Cole Porter: Mark Arnold Film Crew: Writer: Stephen Frears Director of Photography: Danny Cohen Screenplay: Nicholas Martin Producer: Michael Kuhn Producer: Tracey Seaward Editor: Valerio Bonelli Casting: Kathleen Chopin Casting: Leo Davis Casting: Lissy Holm Art Direction: Gareth Cousins Art Direction: Christopher Wyatt Production Design: Alan MacDonald Costume Design: Consolata Boyle Supervising Art Director: Patrick Rolfe Script Supervisor: Sue Hills Music Director: Terry Davies Music Editor: Stuart Morton Music Supervisor: Karen Elliott Assistant Costume Designer: Rosie Grant Costume Supervisor: Marion Weise Camera Operator: Iain Mackay Gaffer: Paul McGeachan Camera Operator: Lucy Bristow First Assistant Camera: Andrew Banwell First Assistant Camera: Iain Struthers Additional Camera: Jason Ewart Special Effects Supervisor: Manex Efrem Visual Effects Coordinator: Jenny King Visual Effects Producer: Noga Alon Stein Visual Effects Supervisor: Adam Gascoyne Visual Effects Editor: Edd Gamlin Sound Effects Editor: Phil Lee Sound Re-Recording Mixer: Dafydd Archard Sound Re-Recording Mixer: Mike Dowson Supervising Sound Editor: Becki Ponting Supervising Sound Editor: Ian Wilson Makeup Artist: J. Roy Helland Hairstylist: Anita Burger Hairstylist: Andrea Cracknell Hairstylist: Beverley Binda Makeup Designer: Daniel Phillips Makeup Artist: Karen Cohen Makeup Artist: Tahira Herold Wigmaker: Ray Marston Digital Intermediate: Rob Farris Digital Intermediate: Patrick Malone Digital Intermediate: Gemma McKeon First Assistant Editor: Karenjit Sahota Stunt Coordinator: Eunice Huthart Stunt Coordinator: Jo McLaren Assistant Art Director: Aoife Warren Original Music Composer: Alexandre Desplat Foley Artist: Andrea King Conceptual Design: Elo Soode Carpenter: Josh Wood Movie Reviews: Reno: **Nothing is greater than to have a supportive life partner by side.** I follow closely what films are announced and what are getting released. Sometimes its common that some films comes out without my knowledge, particularly non-Hollywood English language films. This British film was about a wealthy couple from the New York, especially the husband who tries his best to fulfill his seriously ill wife’s dream to be an opera singer. The problem is she’s not any good. Not just him, but everybody who is close to them and once laughed at her, try to understand them and give their support. But not all the occasion seems to remain the same. So on one such a big event, the disaster strikes and how it affects the couple is the rest of the tale to disclose. A very surprising film. I thought it was just a comedy like it brings small smiles on our face, but I laughed out loud on many occasions. This is definitely a right time, because I felt like it was a music and cinematic version of the American presidential candidate Don Trump. Yep, there not much difference, but still this ...

[boxoftheskyking]

Re: ofmd season 2

Music supervisor Maggie Phillips is fuckin Killing It

[the-myrda-weapon]

My fatal flaw hubris because I create an OFMD playlist and instantly I believe myself to be Maggie Phillips, music supervisor extraordinaire. Ah yes every single song on there will feature in Season 2 mark my words. The world will kneel before my genius and how well I understand Gentlebeard’s dynamics

[plexxaglass]

Maggie Phillips is a freakin boss of a music supervisor

you don't understand. our flag means death has fanfic author level song choice.

like YES the crumbs of love that you offer me they're the crumbs i've left behind

YES i can still hear you saying you would never break the chain

YES miles froM NOWHEAAAAH