Yonderland, starts November 10th on Sky1 HD!

New surrealist comedy Yonderland starts this Sunday (10th November) on Sky1 HD at 6:30pm. The series was written by and stars the team behind Horrible Histories.

The music was written by Air Edel composer Philip Pope, and Maggie Rodford worked on the project as Music Supervisor.

Click here to watch the trailer.

SSN Awards Spotlight – “Bleed For Love” & “Unfinished Song” Could End Diane Warren’s Runner-Up Streak


Awards Spotlight: “Bleed For Love” & “Unfinished Song” Could End Diane Warren’s Runner-Up Streak
Diane Warren has won two Grammys and a Golden Globe, and she’s a six-time Academy Award nominee in the Best Original Song category. SSN spoke with Warren about how the songs for Winnie Mandela and Unfinished Song came about. (SSN)

Songwriter Diane Warren has worked with the planet’s biggest artists, including Whitney Houston, Beyoncé, Aerosmith and Cher. She’s won two Grammys and a Golden Globe, and she’s a six-time Academy Award nominee in the Best Original Song category.

This year could finally see her winning that elusive golden statuette. Warren has two songs vying for nominations this season including “Bleed For Love,” a power ballad belted out by Oscar winner Jennifer Hudson for the biopic Winnie Mandela (also starring Hudson) and “Unfinished Song,” sung by Celine Dion for the eponymous comedy-drama.

SSN: How did “Bleed For Love,” which also features the Soweto Gospel Choir from South Africa, come to you?
I read the script and then wrote the song. I wanted to write a song that could be her song to Nelson, and her song to her country. I wanted it to be interpreted both ways. It took me probably close to a week to write because I take time with lyrics. I like the turnaround in the song where “Would you bleed for love” becomes “I would bleed for love.” I wanted to have that thing where the whole time it’s a question until the end, where it’s like, “No, I would do that for you too.”

SSN: What was Jennifer’s reaction when you presented it to her?
I’ve worked with Jennifer before. When she came over to hear it, she said, “I have to listen three times. I have to listen as Winnie Mandela, I have to listen as me, and I have to listen as a listener.” Isn’t that interesting? I was like, “I hope all three of you liked it.” [Laughs]

SSN: When you know you’re writing for someone specific, like Jennifer, do you find yourself tailoring it to her voice?
Yes. I was able to have quite a range. That’s a song that most singers couldn’t do. It’s a very tough song to do because it’s two octaves. It might be over two because, at the end, I think she took it past that. Knowing it was going be Jennifer singing, I was like, “Let me make it a true singer’s song, because I had that vehicle of Jennifer’s amazing voice. At the end, where she takes it higher,I was like, “My God, you’ve made it impossible for anybody else to sing this now!”

SSN: You also have the title song to the Vanessa Redgrave film Unfinished Song, which was called Song for Marion in the U.K. When did the movie’s title switch to the title of your song?
When Harvey [Weinstein] heard my song, he changed the title to the name of my song [for the U.S. release], which was cool. The story is about an older couple, played by Vanessa Redgrave and Terrence Stamp. She is dying of cancer, but she continues to sing in this choir that performs all these modern, sexy, hip-hop songs. With that movie, I wanted to go out on a joyous note because you could be old, you could be any age, but we’re all unfinished songs. You could be 100 years old, and the best part could still come along. I thought it was a cool message.

SSN: Was Celine already tapped to record the song when you were writing it?
I didn’t know it would be her, so I just tried to write the best song for the movie, which is what I try to do anyways. But this song has vocal range. It has places for a singer to go.

SSN: How did Celine come to record it?
I went to see her in Las Vegas and played it to her on the piano after her show. Often, I do demos of these songs but sometimes its just best to sit down and play something raw, play it in its pure form. She loved the song.

SSN: What was the recording process like?
Here’s the thing about Celine, and why she is so amazing. She does her show from 7:30 p.m. to 9:30 p.m. in Vegas where she’s singing her ass off. Not lip synching, but nonstop talking and singing really hard for two hours. Then she came into the studio at 11:00 p.m., and she didn’t leave until 4:30 a.m.! She probably had the song right the first couple of takes, but this woman is a perfectionist, and that’s why she’s going to be around forever. She would not leave until it was right. I’m like, “Celine, it was right three hours ago!” She goes, “No, no, I can make it better.” Hearing her in that studio, I was like, “Okay I didn’t write that song for Celine, but she’s the best possible person that could have done that song.”

SSN: You worked with Celine on the 1997 Oscar nominated song “Because You Loved Me” from Up Close & Personal (“You Must Love Me” from Evita ended up winning), but a year later, you guys were pitted against each other when you had the Con Air song “How Do I Live” and she had “My Heart Will Go On” from Titanic. What was that like?
Everybody knew her song was going to win that night! But it would be cool to finally win one. I recently worked with Adele, and I told her, “Man, you did your first movie and won! I’ve done, like, 200 movies, and I’m a six-time loser! You won your first time [for Skyfall]”

SSN: Well, you’re not the Susan Lucci of best song nominations just yet!
In all seriousness, it would be cool to get nominated this year because I love both of these songs. I think they’re really important to the movies that they’re in and really speak to what the movies are about.

To view the original article by Zorianna Kit, please click here.

Cutting Edge Group Boards ‘Jane’s Got A Gun’ & ‘The Signal’ (Deadline)

Cutting Edge Group, which has invested in projects including Best Picture Oscar winner The King’s Speech and the Ryan Gosling-starrer Drive among scores of movies and TV series, has just come aboard two upcoming films: the Gavin O’Connor-directed Jane’s Got A Gun from Relativity and FilmDistrict’s sci-fi pic The Signal starring Laurence Fishburne. The deal was done at the Baja Film Festival, a fledgling fest that has designs to build and become a market.

CEG has an interesting approach to its business: the music services provider invests directly in the music budgets of its productions, acquiring music rights and recouping its investment from performance royalties and secondary exploitation sources like soundtrack sales. Following an equity raise in partnership with Wood Creek Capital Management in January that brought CEG’s capital access to $100 million, the London and LA-based company teamed with Basil Iwanyk’s Thunder Road in May to advance slate financing funds upfront, to be secured against Thunder Road’s forthcoming film music slate. CEG has invested in more than 350 films to date.

Jane Got a Gun stars Ewan McGregor, Joel Edgerton and Natalie Portman, who also produces. After some production setbacks including the abrupt departure of original helmer Lynne Ramsay, the Western is being eyed for a 2014 release. The Signal stars Fishburne and Brendon Thwaites and is being directed by William Eubank and also is targeting a release next year.

“These are two terrific films that we are very proud to associated with” said CEG’s James Gibb. “they both have huge potential to be big breakout hits in 2014”.

To view the original article by Mike Fleming JR, please click here.

Photograph of singer-songwriter Quinn Archer

Quinn Archer Features In December’s Vanity Fair!

We are very pleased to announce that CEG’s new signing Quinn Archer is featured in Vanity Fair’s December issue (available now).

“I am 29, I was almost about to give up when I met Philip Moross, CEO of Cutting Edge Music. He liked my voice and my songs and he offered me a deal. Finally it’s really happening.”

Click here to view the article in Vanity Fair.

‘Unfinished Song’ Discussed In Celine Dion Interview (Billboard)

To view the original article by Andrew Hampp, please click here.

For her first English-language album in six years, Celine Dion has tapped current songwriters like Sia and Ne-Yo for a sound that reminds people-or at least her son-of Rihanna.

Celine Dion packs two ­albums right now as she travels the country, and soon Europe — Adele’s “21” and Rihanna’s “Unapologetic.” She may soon add a third to that collection, however.

“How do you spell ‘Avicii’-A-V-as in ‘envy’?” Dion asks on the phone from her home in Las Vegas, just learning of the Swedish EDM phenomenon for the first time. Her interest is piqued because Avicii’s “True” features three songs by Audra Mae, a young singer/­songwriter from Oklahoma who’s also the grand-niece of Judy Garland. Mae penned two standout tracks on “Loved Me Back to Life,” Dion’s first English-language album in six years-including the powerful “Breakaway,” which features arguably the grittiest, most authentically “rock” vocal we’ve ever heard or would expect from Dion.

Her last album may have been titled “Taking Chances,” but Dion takes even bigger stylistic leaps on “Loved Me Back to Life,” teaming with Sia for the stuttery, dubstep-lite title track and lead single; Ne-Yo for the stadium-sized duet “Incredible”; Eg White for “Water and a Flame,” a snarly ballad originally recorded by Daniel Merriweather and Dion’s vocal hero Adele; and Mae for both “Breakaway” and the propulsive, minor-key “Somebody Loves Somebody.”

“I have always been jealous of people who, they go out at night, they have a drink or two-or three or four-and the next morning they feel hoarse and sound bad,” Dion says of meeting Mae. “But then they take their guitar and they sing, and you just cry because it’s so raw. It’s so heartfelt. So painful in a good way. And I was just like, ‘I want to be broken apart a little bit too. I don’t have that broken life, which is great, but can I borrow that from you? Please teach me.’ And she taught me. She was a big influence for me.”

Dion has had aspirations of trying her hand at acting, so “Loved Me Back to Life,” out Nov. 5, is her trying out different characters, in many cases. “It’s been a very fun project,” she says. “What I’ve done [in the past] is something I’m very proud of, but am I going to give my fans what I’ve done already? No, so they’re getting something else. It’s a little edgier but definitely fresh and modern. Because of the words, the approach, how they mix it and how they capture the voice without surrounding it with so much maple syrup.”

Dion hasn’t had a top 40 hit since 2003’s “I Drove All Night,” and the pop landscape has only gravitated toward even more beat-driven dance tracks and hip-hop in the ensuing decade. Besides, she’s been spending most of her time performing her greatest hits at her now-groundbreaking residency at the Colosseum at Caesars Palace in Las Vegas, which has grossed a staggering $493.7 million in box-office receipts since debuting in March 2003, according to Billboard Boxscore.

That’s why the promotional plan for “Loved Me Back to Life” began early, with Dion appearing on “Jimmy Kimmel Live!” on Sept. 6 for an interview and a performance of the title track, and again on “The Ellen DeGeneres Show” on Sept. 9. This week she’s in New York, where yesterday she played both “Today” and “Late Night With Jimmy Fallon.” She’ll visit “The View” tomorrow, Oct. 30. “With Celine, we need big television. We’re not going to get her on top 40 radio,” Columbia chairman Rob Stringer says. “Every year there’s one record that captures that adult consumer, and we’re hoping Celine does that because she put out a French record last year that sold 1 million in France, and she’s doing tons of television.”

Most notably, she’ll perform an intimate, private concert for Pandora Presents at New York’s Edison Ballroom. The 1,200-capacity show is a significant underplay for Dion, who’s used to playing to crowds of 4,100 at the Colosseum, and even larger when she’s on tour-she’ll do a limited tour of Europe in late November, including seven nights at the 16,000-capacity Palais Omnisport de Paris Bercy arena in Paris. For the Edison Ballroom show, Dion will perform hits and selections from “Loved Me Back to Life” primarily to the fans in the New York tri-state area who’ve added her Pandora station and listened passionately.

“We’ve done these in a variety of cities across the country,” Pandora head of music partnerships Tommy Page says, “and are able to determine the artist for each city by analyzing the musical preferences of our local listeners through stations they have created and songs they have ‘thumbed up.’ We are so honored and excited to be a part of what we believe will be a historic event.” Dion has also been embracing social media platforms with this album cycle, joining Twitter in early September (@celinedion has more than 103,000 followers), posting more frequent updates on her well-followed Facebook page (14.5 million global likes) and even participating in a Reddit Ask Me Anything Q&A on Oct. 31. “For adult artists, we all know the real challenge is, ‘How do you let your fans know you’ve got something new?'” Columbia senior VP of marketing Greg Linn says. “We gave a track to Perez Hilton to premiere and it was great-we instantly saw a reaction from fans, a jump on Amazon and instantly felt the pulse rate pick up a little bit. It’s really wonderful that Celine and [her manager/husband] Rene Angelil are really open to a wide range of ideas, many of which didn’t exist the last time she had an album.”

Columbia marketing manager Chris Poppe says a paid TV and digital advertising marketing campaign will roll out in several stages even after release week. “We’ll hit again for Black Friday, and then we’ll unveil an entirely new campaign in December. It really is all about reminding people, ‘If ever there was a gift for you to buy this holiday, this is it,'” she says.


Even with less attention from the mainstream than her ’90s heyday, there were limits to the edge that Dion was willing to incorporate into her new music. “Am I going to start singing with Eminem? No,” she says. “I’m not going to be Rihanna. No one can be Rihanna except for Rihanna. This album was about, ‘How can I not do what I’ve done?’ But for people who, if they like what I’ve done, I don’t want them to think, ‘Let’s not go so wild.’ I just want to do the songs that I love. But what songs, and how? Just by the approach of the production-not too much reverb, really dry, no effects on the voice, borrow some new words here and there.”

There was a point where “Loved Me Back to Life” was going to sound more like the show fans pay upwards of $80 a ticket to see in Las Vegas, consisting primarily of covers with a handful of new songs, mostly ballads. But as more songs came in, Columbia delayed the album from its initial fall 2012 release, and most of the covers were scrapped in favor of original collaborations with Sia, Babyface, Ne-Yo and Swedish songwriting trio Play Production. Of the songs featured in Dion’s show, only Stevie Wonder’s “Overjoyed” (featuring guest vocals from Wonder himself) and Janis Ian’s “At Seventeen” were kept, along with Billy Joel’s “Lullaby (Goodnight My Angel)” for an exclusive deluxe edition Target will issue on release date.

Dion knew she was onto something different when her eldest son, 12-year-old Rene Charles, was impressed. “He couldn’t believe it. He said, ‘They must have made a mistake. Ne-Yo and Sia, they don’t write for mama. They write for Rihanna.’ RC’s my toughest crowd. I’m his favorite mama but I’m not necessarily his favorite singer. He listens to Eminem and is about to be 13. He’s not going to listen to ‘Because You Loved Me.'”

Even the expected parts of a Dion album are delivered with new twists. For instance, “Unfinished Songs,” her latest pairing with Diane Warren (“Because You Loved Me,” “If You Asked Me To”) isn’t a string-swept ballad but rather their most uptempo outing since 1992’s “Love Can Move Mountains.” Warren went to see Dion’s show in Vegas in 2011, hoping to score a few minutes with her post-show to play an early version of “Unfinished Song” that they planned to record that week during the singer’s time off. Though Dion prioritizes her family life (“I do my job as quick as I can and then I come home-it’s wonderful and I’m so happy to do it, but now I know I have it better,” she says), she remains committed to nailing the perfect take in the studio.

“Here’s what’s so impressive about working with Celine, what separates the good from the great,” Warren says. “I went to her show, and it’s almost two hours. She’s not lip-synching. She’s singing songs that aren’t easy to sing. Then we went in the studio at 11:30 at night and she stayed until, like, 4 a.m. and would not leave until it was perfect. I kept thinking, ‘That’s why she’s going to be around forever.’ A lot of times you work with singers and they’re like, ‘Aw, I’ll finish next time.’ She just came from two hours onstage and then really sang her ass off. Not that she needed to-she got it right the first time. There’s too few people like that.”

Ne-Yo, who recorded “Incredible” as a duet with Dion as well as backing vocals for his song “Thank You,” adds, “I’ve always prided myself as a songwriter that can sing a little bit. You don’t take ‘can sing a little bit’ next to one of the greatest voices in the world,” he says. “I’m happy to say I feel like I held my own, but I’m pretty sure the other guys playing on the team with Michael Jordan knew they weren’t as good as him, they were just happy to be there. [“Incredible”] is definitely one of those songs that makes you feel invincible, like I can accomplish anything. With the [Winter] Olympics coming, if somebody don’t pick it up, then somebody’s not doing their job.”

And although Dion doesn’t write her own material, there’s one song that’s perhaps her most autobiographical since 2002’s “A New Day Has Come”-“Always Be Your Girl,” penned for her by husband-and-wife songwriting duo Dana Parish and Andrew Hollander. The couple was clicking through cable channels in October 2011 when they happened upon Dion’s documentary on OWN, and was struck by Dion’s open personality and her struggle to expand her family-twins Nelson and Eddy were born in 2010 after numerous attempts at in-vitro fertilization.

“We didn’t know she was making a new record,” Parish says. “We were just really inspired by this documentary and her life with her children. So the next day we got together and wrote ‘Always Be Your Girl’ about what she might say to her kids.”

The song soon got into Angelil’s hands through Parish and Hollander’s friend Peter Lloyd, then of Razor & Tie Music Publishing, and was an immediate favorite of Dion’s. “Rene said, ‘It’s the first original song that we’ve found for the record,'” Hollander recalls.

Two years after she first recorded it, Dion still has a close connection to “Always Be Your Girl.”

“I have a picture of [Rene Charles] right now in front of me because, for the first time, I let him go to Montreal by himself with his godfather and one bodyguard. I said, ‘Listen, I’m going to let you go to Montreal without mama.’ And when I think of ‘Always Be Your Girl,’ that’s what I thought about with him, when he’s going to leave and when he’s going to meet his wife and have his heart break and things like that. I’m always going to be there. ‘I’m the first woman of your life, I’m your mother’-that will never change. But it made me tear a little bit inside, in a good way. This song was mainly for him, but of course I will translate it to my twins a little later on. They’re far from flying on a plane by themselves.”

In the meantime, Dion is grateful for the stability her Las Vegas residency has brought to her life (she recently put her Florida mansion up for sale, to the tune of $72.5 million, to spend even more time in Vegas). She hopes it soon does the same for Britney Spears, who begins her multi-year stint at Planet Hollywood just before Dion returns to Caesars Palace on Dec. 30.

“That’s going to be good for her,” Dion says of Spears. “Because she’s an amazing performer, and everybody deserves a second chance. I wish her very well and am glad she’ll be our neighbor. I can’t wait to get a chance to see her show.”

ASCAP Awards Dinner success for Air Edel!

We are very pleased to announce that 4 out of the 5 Film Awards presented at last night’s ASCAP Awards Dinner went to Air Edel composers and projects!

The awards were presented to AE composer Patrick Doyle for his score for Pixar film ‘Brave’. And also to AE composer Dario Marianelli who won 2 of the Film Awards with his scores for ‘Anna Karenina’ and ‘Quartet’.

Additionally ‘House At The End Of The Street’ won one of the awards, the music was composed by Theo Green and was also an Air Edel project back in 2012.

The Awards dinner honours those PRS for Music writer and publisher members whose repertory is licensed by ASCAP and among its most performed works in 2012.

Toronto: Cutting Edge Scores With Music Rights (Variety)

Independent financing has always meant cobbling together a variety of sources, and in the past five years, financing against music licensing has become another funding source to add to the indie menu.

Cutting Edge Group has invested in 10 films screening at the Toronto Intl. Film Festival along with two films in post-production: Zac Efron’s comedy “Are We Officially Dating?” and Taylor Lautner’s action-thriller “Tracers.”

“These films are right in the Cutting Edge sweet spot,” said CEO Phillip Moross. “They’ve got great young casts that have international appeal.”

Five-year-old CEG has invested in more than 200 films including “The King’s Speech,” “Drive” and last year’s TIFF opener “Looper.” Its titles this year: “Oculus,” “The Face of Love,” “Life of Crime,” “Devil’s Knot,” “Belle,” “Don Jon,” “Felony,” “The Railway Man,” “The Right Kind of Wrong” and “Third Person.” (pictured)

CEG makes deals by obtaining music publishing rights and then handling scoring, clearances and music supervision in a film. It recoups from soundtrack and sheet-music sales; licensing and royalties from international tix sales and TV deals; and rights in commercials.

“Dating” stars Efron, Miles Teller and Michael B. Jordan with Tom Gormican directing from his own script. CEG worked with Treehouse Pictures and producers Justin Nappi, Andrew O’Connor, Scott Aversano, Kevin Turen on the deal for “Dating,” on which FilmDistrict is the U.S. distributor for an early 2014 release.

“Tracers” is directed by Daniel Benmayor and produced by “Twilight” producers Marty Bowen and Wyck Godfrey of Temple Hill Entertainment.

Earlier this year, CEG raised $100 million in equity and teamed with Wood Creek Captial to acquire Varese Sarabande Records.

To view the original article by Dave McNary, please click here.

CEO Philip Moross featured in Variety’s 2013 Global Finance Impact Report

We are very pleased to announce that Cutting Edge Group CEO Philip Moross has been featured in the Variety 2013 Global Finance Impact Report.

“Thanks to his unique idea of providing hedge-based financing for film scores — handling funding for scoring and music clearance upfront in exchange for publishing and distribution rights later on —he and his Cutting Edge Group have swiftly become forces in the film-music biz. After funding scores for such films as “The King’s Speech,” “Drive” and “End of Watch,” Cutting Edge recently acquired storied soundtrack label Varese Sarabande, as well as music talent agency Air-Edel and film music library Cord.”

Please click here to view the page on Variety, and also to see who else made it onto this year’s report.

Chelsea Royal Get Music on NBC’s ‘Siberia’ (Exclusive); Johnny Depp, Steve Jones, Traci Lords Hit Annual Johnny Ramone Tribute; Way More

The Chelsea Royal Lands 3 Songs on NBC’s ‘Siberia’

Indie Los Angeles band the Chelsea Royal has landed three songs in NBC’s “Siberia” that are being promoted by the Cutting Edge Group that is handling the series’ music. Three songs were created for various episodes, and one of the “Siberia” characters portrays a rabid fan of the group. In one episode, the cast sings the band’s single “Eternal Autumn.”

The Cutting Edge Group, which finances and provides music services for film, television and advertising, struck a deal for the music with “Siberia” executive producer Michael Ohoven of Infinity Films. Infinity Films and its production partner, Welldone, financed the first season.

Songs used in “Siberia” will be represented by the music library Cutting Edge Film Scores and the CEG-owned commercial group, CORD Worldwide. The CEG-owned label Varese Sarabande is considering releasing the band’s EP.

To view the original article by Phil Gallo, please click here.