Rania Sabbagh
Music supervision for film, television & brands
CLEARANCE IS A CRAFT
The right song is only half the job — the other half is getting it. Master and publishing chased in parallel, splits confirmed in writing, most-favored-nations kept honest, and a backup cue approved before anyone falls in love. Budgets stretch when you know who actually controls a copyright — and when to call the writer instead of the lawyer.
MIXTAPES
SLOW BURN, VOL. IV — 60 MIN.
SIDE A
1. “United Static” — Sensual World
2. “Glass Arcade” — Peripheral
3. “Judge” — PostRule
4. “Same Acoustic” — V. Magdalé&Composite
SIDE B
1. “Mi Scusi” — Soto Sounds & Elisa Borghi
2. “Ruby Dulcet” — Ruby Ophran
3. “Won't Be a Thing to Become” — Colm Slater & Sarah Renfold
4. “Garland of Sharon” — Homa
FILM & TELEVISION
FROM PITCH TO PAPER
Creative searches with a point of view, licenses that close before the mix, and cue sheets filed the week the show airs. The paperwork is the love language.
Rania places songs in stories for a living — pitch, negotiate, clear, deliver. Fifteen years of cue sheets without a single broadcast hold, and a contact book that opens doors from label archives to bedroom-pop Discords.
She started in a label copyright department, filing splits nobody read, and it turned out to be the best film school available: she learned where songs actually live, who owns which sliver, and why a verbal yes is worth the tape it isn't recorded on. Showrunners get options ranked by feel and by feasibility; indie films get majors-quality searches on festival budgets, because half her favors are still owed from the archive years.