Exchange & Connect
Phil Canning

Phil Canning

Creative Manager for Film | Universal Music Publishing (GBR)

Phil began working in the Music industry as the International Marketing & Promotion Manager at Warp Records, where he released albums by acts ranging from Aphex Twin to Grizzly Bear to Vincent Gallo. After Warp Films was created, he began Music Supervising on feature films including Four Lions (Chris Morris), Bunny & The Bull (Paul King), Submarine (Richard Ayoade) and Berberian Sound Studio (Peter Strickland). With the MD he started the Artist Management division at Warp (Battles, Tanlines, New Build, then later Pulled Apart By Horses & Vonica), then he was appointed Creative Manager for Film at Universal Music in London, representing one of the largest and most prestigious music catalogues, to the UK film industry. Simultaneously he continues to work as an independent Music Supervisor also. In 2017 he supervised the BAFTA award winning film "I am not a Witch" also nominated for Best Music at the BIFA Awards after its Cannes premiere. He also Supervised on Matt Holness debut feature Possum (Sean Harris), Jim Hoskins sophomore film An Evening with Beverly Luff Linn (Aubrey Plaza), the first narrative work by Crystal Moselle, Skate Kitchen (Jaden Smith), and horror sequel Strangers 2 which was a top 10 box office success on both sides of the Atlantic. In 2018 he was nominated for Music Supervisor of the year at the Music Week Sync Awards.

Speakerslots at c/o pop Convention 2019:

Thursday 02.05

11:00 - 12:00

Music Supervision Today & Tomorrow: Sync, Branded Content, Testimonials, Partnerships (ENGL.)

Mehr Infos
Experts at the interface between music and brand or film will provide insights into the world of cooperation - from the mediation of a song for a spot or trailer to the use of a musician in a spot or film and to the interweaving of channels from brands and artists in the context of communication. But music rights are known to be among the most complicated in the world: many players are involved – who is able to understand all of this? Not to mention the fact that it also has to fit strategically, content-wise and personally... We're burrowing through the jungle of usage rights, personality rights, requirements for labels and – a journey through the colorful world of the emotions that arise when art and commerce make a pact.