In Contention

Tag: Best Original Song

  • 41 original songs up for consideration

    Via press release, the Academy has whittled the Best Original Song field down to 41 eligible contenders.  They can be found in the category’s Contenders section.

    Nothing stands out as an egregious snub from what I can tell.  Only one of the songs from “The Twilight Saga: Eclipse” is on there, which I guess I didn’t expect.  But the usual titles are there and nothing most are predicting has been left off, so now it’s all about deciding which entries will tickle the branch’s fancy.

    What else to say?  I’ll likely stick with the same five (which, there may not be five nominees at the end of the day, remember) taht I’ve had for a while, but I’m intrigued by the inclusion of a song from “The Illusionist.” Early on there was talk that maybe something from that could slip in a la “Belleville Rendez-vous.”  Perhaps.  You can hear a number of the entires via our “listen to” series, if you want to catch up on this or that.

    [Photo: Sony Pictures Classics]

  • WEEKLY WRAP: The circuit takes hold, chatting up DiCaprio and Harris, top 10 lists

    • The week started off with “How to Train Your Dragon” predictably dominating the slate of Annie Award nominations.

    • Kris sat down with Leonardo DiCaprio and got Martin Scorsese on the phone for a large two–part piece on the actor and his impressive year.

    • He also caught up with actor Ed Harris to talk “The Way Back” and director Peter Weir.

    • It was good and bad news for The Weinstein Company as “Blue Valentine” won its ratings appeal with the MPAA, while “The King’s Speech”‘s was shot down.

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  • TECH SUPPORT: Best Original Song

    I guess I’ve been pretty hard on the Best Original Song category this year. It’s not like any given year tends to have a deluge of impressive fodder up for consideration or anything, but on the whole, outside of a concentration of contenders that have a fighting chance at recognition, it just seems to be an uninspired lot of tracks in the mix for 2010.

    Before diving into the fray, some quick reminding. The music branch’s rules are always in flux and over the last couple of years they have shifted, perhaps rightly, into a frame of assessing songs as they are used within the context of a given film. Let’s look at the official language from the Academy’s rules and eligibility literature:

    An original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits.

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  • Listen to Tim McGraw and Gwyneth Paltrow’s ‘Me and Tennessee’ from ‘Country Strong’

    Continuing this week with a last push to feature a few more Best Original Song contenders we have the featured track from “Country Strong,” namely the Tim McGraw/Gwyneth Paltrow duet “Me and Tennessee.”

    If you ask me, this is an absolutely killer tune.  So no surprise it was written by Paltrow’s husband, Coldplay frontman Chris Martin.  Even being a country track, one can hear Martin’s influence in the fabric of the song and it just rolls.  I love it.  (And you’ll recall Paltrow’s big country coming out party on the CMAs last month.)

    The film being a musical, one would have expected it to be performed on screen.  The Cher/Diane Warren ballad “You Haven’t Seen the Last of Me” from “Burlesque” is in that kind of position to capitalize on the voting procedure, whereby all contenders are viewed in the context of the given films.  But it’s actually the closing credits cue.  Bummer.

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  • Listen to Carrie Underwood’s ‘There’s a Place for Us’ from ‘The Chronicles of Narnia: The Voyage of the Dawn Treader’

    We’re trickling closer to Thursday’s Tech Support column on the original song race with what’s available to us.  Today it’s a tune I didn’t even know was in the race until a PR blast hit the ole inbox this afternoon.

    It looks like country star Carrie Underwood is the race with “There’s a Place for Us” from “The Chronicles of Narnia: The Voyage of the Dawn Treader,” putting her in the “Oscar contender” club with fellow American Idol alums Jennifer Hudson (“Love You I Do” from “Dreamgirls”) and Adam Lambert (“Time for Miracles” from “2012”).

    I haven’t seen the film yet.  In fact, I never did get around to the second installment of the franchise after being a pretty big fan of the first one.  But I’m told the song is used over the closing credits rather than in the context of the film itself.

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  • Listen to Cee Lo Green’s ‘What Part of Forever’ from ‘The Twilight Saga: Eclipse’

    Can you tell I’m grasping at straws with this category yet?  I’m planning on writing up this year’s Best Original Song category in Thursday’s Tech Support column and I thought I’d squeeze a few more contenders in this week, but there’s not a lot to choose from.

    Cee-Lo Green’s “What Part of Forever” from “The Twilight Saga: Eclipse” was nominated for a Satellite Award by the International Press Academy last week so I guess giving it some space here makes (a little) sense.  I haven’t seen the film so I can’t speak to its usage therein.  I watched the first two films of the series back-to-back last year and was stunned.  I never want to feel that way again so I avoid them like the plague.

    Also included on the soundtrack were tunes from Muse, Beck and Bat For Lashes and Muse (whose “Eclipse (All Yours)” was also nominated for a Satellite), all eligible (I think).

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  • Listen to Christina Aguilera’s ‘Bound to You’ from ‘Burlesque’

    I’ve already stated my qualified admiration for Steven Antin’s “Burlesque,” likely the only live-action musical angling for a spot in this year’s Best Original Song race. Or two spots, given that we already featured Cher’s deliriously kitsch Diane Warren power ballad “You Haven’t Seen the Last of Me” a couple of weeks ago.

    Today, it’s Christina Aguilera’s turn to bust her lungs with a nine-octave belter from the film that she herself co-wrote — so while we’re unlikely to be mentioning her name much in the Best Actress race, Xtina could yet add “Academy Award nominee” to her résumé.

    The song is something of an anomaly in the gaudy, thrust-heavy production: a stately, classically arranged torch ballad that sounds rather like an offcut from Aguilera’s retro-styled 2006 album “Back to Basics.” (It’s more likely, however, to be an offshoot of her 2010 release “Bionic,” in which the song’s co-writers Sia Furler and Samuel Dixon had a heavy hand.)

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  • Listen to Owl City’s ‘To the Sky’ from ‘Legend of the Guardians: The Owls of Ga’Hoole’

    The Warner Bros. screener pack arrived yesterday afternoon and I immediately noticed an original song contender on the sleeve for Zack Snyder’s “Legend of the Guardians: The Owls of Ga’Hoole.” I hadn’t yet seen the film so I popped it into the player last night to see where and how the track was utilized.

    Owl City’s “To the Sky” is a poppy ditty used mid-way through the film as part of a montage and is then reprised as the first cue on the closing credits.  Even in a slim pickings race like the one we’re seeing unfold this year, I’d say it doesn’t have much of a shot at a nomination, but it’s an eligible contender nevertheless so it deserves a mention here.

    I quite liked the film, by the way.  Snyder’s vision and cinematic sense really stands out, even if his penchant for slow motion begins to grate after a while.  When he saves it for unique dramatic instances, it has a real impact.  But regardless, the animation is gorgeous and I’d have loved to catch it in the theater.

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  • Listen to Avril Lavigne’s ‘Alice’ from ‘Alice in Wonderland’

    It’s slim pickings in the original song category this year. I didn’t even get around to featuring anything last week and diving back in today, I see there’s just not much to choose from.

    So I’ll go with Avril Lavigne’s “Alice” from Tim Burton’s “Alice in Wonderland.” It’s on the furthest outskirts of contenders for a variety of reasons, not least of them being that it’s simply a credits cue and isn’t used in the film, so that won’t really light the branch’s fire in the screening stage of the process.

    Apparently Lavigne approached Disney to contribute to the film. Personally, it drives me (and my ears) nuts. But it’s one of the qualifying tracks in the hunt so it deserves its moment along with the rest.  Have a listen to “Alice” after the jump, and as always, keep up with the Best Original Song category via our dedicated page here.

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  • WEEKLY WRAP: ‘Fighter’ bows, Jackman bows out, Best Picture questions

    • David O. Russell’s “The Fighter” unspooled at the AFI Fest. Kris was impressed and later reported from a Q&A with the film’s stars.

    • This week’s Off the Carpet column pondered the presence of money-spinners in this year’s Best Picture race.

    • The Long Shot, meanwhile, wondered if that very race is currently looking a little flimsy.

    • News of Hugh Jackman turning down the gig prompted the annual speculation over who should host the Oscar ceremony.

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  • OSCAR TALK: Ep. 40 — ‘The Fighter’ and ‘Black Swan’ hit AFI Fest, a riskless Hollywood and previewing the Governors Awards

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    AFI Fest has concluded, the first Academy Award ceremony of the year hits this weekend and we find ourselves in the thick of things. Between Galas, premieres, parties and the usual, there’s plenty to chew on, so let’s see what’s on the docket today…

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  • Listen to Pharrell’s ‘Despicable Me’ from ‘Despicable Me’

    This track is probably a bit of a long shot in this year’s race for Best Original Song, but, well, it’s awesome.

    Hip-hop artist Pharrell Williams (who goes by simply “Pharrell”) contributed the original tracks to Universal’s summer animated effort “Despicable Me.” They give the film a smooth, rhythmic vibe and go a long way toward the film’s overall personality, too.  In that sense, they really should be considered some of the best song contributions to a film this year.

    The title track, “Despicable Me,” plays over an opening sequence that introduces the audience to the central character, villain-turned-softy Gru.  It’s a key sequence given what we see unfold, as it establishes Gru as diabolical in a quick series of devilish moments with the character.  I imagine when voters are sitting there watching the songs in context, going through clip after clip, this one could stick out as particularly humorous.

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  • Listen to Cher’s ‘You Haven’t Seen the Last of Me’ from ‘Burlesque’

    Cher and the Academy Awards made for an interesting mix over 20 years ago when she took home a Best Actress Oscar for “Moonstruck.” Though it was probably her threads that grabbed more headlines the next day.

    This year, the singer is back in the awards mix, though for her vocal talents (which have never been recognized by the Academy, interestingly enough — though I’m not sure there have been many opportunities).  Cher is part of the ensemble of Steven Antin’s musical “Burlesque” and belts out the power ballad “You Haven’t Seen the Last of Me” at a key moment in the context of the film.  Cha-ching.

    Not only that, the song was also written by Dianne Warren, who has been nominated for six Academy Awards (going all the way back to “Nothing’s Gonna Stop Us Now” from “Mannequin”).  And she has yet to win.

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  • Listen to Mandy Moore and Zachary Levi’s ‘I See the Light’ from ‘Tangled’

    Disney always does well in the Best Original Song category and this year should be no different.  We’ve already covered Randy Newman’s latest entry from the “Toy Story” franchise but today we showcase one of the many tracks from the upcoming film “Tangled.”

    When I wrote up the film last month I noted that the strongest play at a nomination would have to be “I See the Light,” and I still feel the same.  In classic Disney form, the film fits a certain parameter, coming toward the end of the second act just as our heroes (voiced by Mandy Moore and Zachary Levi, who also sing the song) begin to connect romantically.

    It’s a lovely tune, well-used.  But it’s obviously worth noting the presence of Alan Menken on this film.  The 18-time nominee (and eight-time winner) was last recognized in 2007 for three songs from “Enchanted” and he’ll get at least one nod, maybe a couple, for “Tangled.”

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  • WEEKLY WRAP: ‘127 Hours’ dissent, BIFA nods, interviews

    • Guy didn’t much care for “127 Hours.” That got you talking.

    • Happily, Kris did, and got talking to director Danny Boyle and screenwriter Simon Beaufoy.

    • The British Independent Film Award nominations threw some surprises into the mix, handing scads of noms to “The King’s Speech”… and “Kick-Ass.”

    • Chad’s Life Without Oscar column eased into the late 1980s, showcasing one films on either side of the Hollywood border.

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  • Listen to Dido and A.R. Rahman’s ‘If I Rise’ from ‘127 Hours’

    Two years ago composer A.R. Rahman managed to sweep the music categories at the Academy Awards.  One of only two nominations “Slumdog Millionaire” didn’t translate into an Oscar was original song “O…Saya” — because the film’s other key track, “Jai Ho,” won instead.

    This year Rahman is back in the mix with the vibrant score for Danny Boyle’s “127 Hours,” and specifically, the original song “If I Rise.”  Dido provides the vocals on the song, which plays sporadically at key moments during the film’s climax and finally plays in full over the closing credits.

    At the end of the day, this could be a formidable contender in the race for Best Original Song.  It’s well-placed in the film and that will go over well when voters sit down and watch all of the contenders in context.  At the very least, that’s enough for the track seriously threaten a nomination.

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  • John Legend and The Roots perform ‘Shine’

    In lieu of a proper “listen to” item on John Legend’s “Shine” from “Waiting for Superman” (since I’ve already featured the tune twice), I thought I’d post up this video of the singer performing the song with The Roots in studio.

    At the end of the day, I think this track has a real shot at being our Best Original Song winner.  Though some point out that Melissa Etheridge won here in 2006 for “I Need to Wake Up” from “An Inconvenient Truth” (another doc hit with AMPAS), that was before the current voting practice of viewing contenders in the context of their films.  So it’s possible Legend misses the nod altogether.  But I think it’s also worth pointing out that, like “I Need to Wake Up,” “Shine” doesn’t just play over a traditional credit role, but instead an animated “fact roll,” if you will, with various bits of information making an extension of the narrative.

    And after the nod?  Tough to stand up to that charisma and such a chance to do well by the issue by shining (pardon the pun) a spotlight on a film that may not win in the doc feature field (given the stiff competition), especially when you’re working with frothy tracks from animated features and musical numbers in films that don’t appear to be major Oscar threats in general.

    Check out the video after the jump.

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  • Listen to Randy Newman’s ‘We Belong Together’ from ‘Toy Story 3’

    Randy Newman has been a fixture of the Pixar brand since day one.  He composed the score for 1995’s “Toy Story” and supplied the original songs, “You’ve Got a Friend in Me” becoming the theme of the franchise.  After receiving 15 nominations without a win, he finally took home his Oscar in 2002 for the original song “If I Didn’t Have You” from “Monsters, Inc.”

    This year, Newman is back in the thick of the discussion as he has offered up a new original tune for “Toy Story 3,” namely, “We Belong Together.”  The song plays over the closing credits (though I could have sworn I remembered it in the context of the narrative), so that could make it tough.  But I have a hunch it’ll be fine.

    The song is standard Newman/Pixar fare.  There’s certainly no reinvention of the wheel going on here and the song is incredibly simplistic (as it would be in a film largely aimed at children).  But I don’t imagine all of that will really count against the track.  If nominated, it will be Newman’s 20th invitation to the dance.

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