Universal Music Group U.K. (UMG U.K.) is significantly expanding its footprint in the film industry through its Globe Originals division. This initiative aims to develop original films that leverage music as a core creative element, providing new avenues for artists. With a history of integrating music into various media, Globe is now venturing deeper into scripted content, an area that holds promising opportunities for multi-talented creatives.
Globe Originals has already made notable contributions to film and television, collaborating on projects like the acclaimed biographical documentary *Amy*, *This Town* for the BBC, and *If These Walls Could Sing* for Disney+. The division has also produced the BAFTA-nominated short film *Nostalgie* and the Oscar-nominated *Hamnet*. The unit operates under the leadership of president Marc Robinson, who has been steering its expansion into the U.S. market.
A significant aspect of Globe Originals’ strategy involves partnerships with established talents. Recently, UMG U.K. announced a collaboration with Hollywood producer Shannon McIntosh, known for her work with Quentin Tarantino. This partnership will focus on a slate of music-driven feature films, including the modern love story *Falling*, which features actors Simone Ashley and Sam Claflin, and a biopic titled *Dusty vs Dusty*, centering on the life of Dusty Springfield.
Globe Originals is also producing four documentaries about U.K. artists, with details expected to emerge later this year. Robinson noted that the growing demand for music-driven storytelling is a key factor in this strategic shift. He emphasizes the evolving landscape of entertainment, particularly with the rise of streaming platforms, which has opened new opportunities for artists to explore storytelling beyond traditional music releases.
A prime example of this new direction is *Annie Oakley Hanging*, a project in development under the McIntosh partnership. Described as a “fully music-driven feature,” it will incorporate an original soundtrack crafted by Dan Smith, lead singer of the band Bastille, and Ralph Pelleymounter, frontman of To Kill a King. McIntosh expressed her excitement about the project, stating, “Reverse engineering the normal process of making a film by starting with the soundtrack is absolutely invigorating.”
The collaboration between music and film is a hallmark of Globe Originals. Robinson explained that the division seeks to engage with filmmakers and artists early in the creative process. “We’re trying to get in at the early stage and really bring a music conversation to film and TV in a way that we haven’t done before,” he said.
Smith’s involvement with Globe Originals has further highlighted the intersection of music and narrative storytelling. He composed the score and songs for *Nostalgie*, which tells the story of a 1980s pop star facing a moral dilemma. The film, directed by Kathryn Ferguson, has been well-received and showcases the potential of music to enhance cinematic narratives.
Reflecting on his experience, Smith noted, “Globe Originals is such a rare thing that bridges music and narrative storytelling and film, TV, and short film. It’s a dream for a musician or songwriter to expand into these realms.” He described the unique challenges of writing for film, emphasizing the difference between personal artistic endeavors and collaborative projects that serve a director’s vision.
Robinson sees Smith as an exemplary artist for Globe Originals, highlighting his narrative approach and cinematic sensibilities. Smith’s previous work, including collaborations with Hans Zimmer and contributions to the BBC’s *Planet Earth III*, further cements his credentials in this domain.
Looking ahead, Robinson confirmed that Globe Originals is positioned to continue fostering collaborations that blend music and film. “We’re not a film production company in the scripted space,” he stated, “so for me, it was about partnering with people who can bring that expertise and who can also help celebrate and develop these ideas from artists.”
As Globe Originals develops new projects, including a musical and a biopic twist, the division is set to redefine how music and film intersect. Smith’s enthusiasm for future opportunities is palpable, and his willingness to take on creative challenges, including potential directing roles, reflects the dynamic nature of this evolving landscape.
With UMG U.K. leading the charge, the integration of music into film storytelling is likely to expand, offering fresh and innovative experiences for audiences worldwide. This new venture not only signifies a strategic business move but also marks a cultural shift in how music can shape narratives in contemporary cinema.
