ALIBI Music Library has tapped Julia Trainor to serve as music supervisor. Trainor, who brings an exceptional insight and a successful, 14-year track record in entertainment advertising to her new role, will serve ALIBI’s U.S.-based clients. ALIBI is a trusted partner of movie studios, trailer houses, promo departments, video game companies and ad agencies around the globe, its music and sound design helping to promote such notable projects as blockbuster Tarantino film “Once Upon A Time In Hollywood,” hit series “American Horror Story,” popular video game Apex Legends and Amazon’s back-to-school campaign.
Trainor has music supervised over 200 productions throughout her career, encompassing network promos, theatrical trailers, ad campaigns, independent shorts, sizzle reels, upfront presentations and digital spots.
With previous posts at Project X/AV, Cimarron, mOcean and Craig Murray Productions, she also brings the unique perspective of coming from the client side of the business, where she had actually used ALIBI’s music from the company’s inception. This background has given Trainor a keen ability to decipher the creative brief and fully understand the needs and challenges facing marketers.
“I’ve had the opportunity to know and work with Julia for nearly 15 years now, and she is truly a rare breed,” said Jonathan Parks, ALIBI’s founder and executive producer. “Not only does she know this business from the inside out by having feet on both sides, but she also just gets it. She has a vision and passion for music supervision that’s unmatched.”
Trainor added, “As a client, I always found the ALIBI team to be friendly, easy to work with and smart about what music they produce. They always seemed to know just what would be useful music for us and embraced an ‘all killer, no filler’ vibe that I loved. I had been looking to segue into the music library side of things, so I jumped at the opportunity when I learned they had the perfect role for me available.”
In addition to her work with ALIBI as a music supervisor, Trainor has had a hand in producing music, including two holiday collections for ALIBI’s high-end trailer/promo catalog, ATX.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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