Film
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Avatar: The Way of Water will ring in 2023 in style.
James Cameron’s tentpole is expected to finish the long New Year’s weekend with an estimated $440 million-plus domestically, well ahead of the first Avatar, which came out of the year-end holidays with $352 million on its way to earning north of $750 million domestically (that includes rereleases). The 2009 film still ranks as the top-grossing movie of all time globally with $2.92 billion in ticket sales.
Avatar: The Way of Water will cross $1.4 billion in worldwide ticket sales sometime on Monday after sprinting past the $1.37 billion mark on Sunday (Imax accounts for a huge $152.2 million, the fourth-best showing of all time.) That puts it among the 15 biggest films of all time.
Overseas, the sequel grossed a sizeable $186.7 million for the three-day weekend for a foreign tally of $956.9 million. That includes $152.8 million from China, where the movie has gained strength, $95.1 million from France, $74.9 million from South Korea, $67.2 million from Germany and $54.2 million from the U.K.
In North America, The Way of Water is on course to gross $82.4 million for the four-day holiday weekend. The 20th Century and Disney film is doing far more business than any other year-end release in what’s been a bummer for other Hollywood studios.
This puts overall domestic revenue for 2022 at roughly $7.4 billion, 68 percent ahead of 2021 but 38 percent down from 2019, the last year before the COVID-19 pandemic, according to Comscore.
The next closest New Year’s performer is DreamWorks Animation and Universal’s Puss in Boots: The Last Wish, which is looking at a four-day gross of $22.2 million for a muted domestic tally of $65.6 million or more. At the foreign box office, the family pic earned another $22.5 million for an international tally of $68.8 million and $134.9 million globally.
Black Panther: Wakanda Forever has remained a major force and will come in at No. 3 over the long New Year’s weekend with an estimated $6.5 million. That will push the Marvel pic’s global cume to nearly $820 million.
Whitney: Houston: I Wanna Dance With Somebody is expected to follow with a muted $5.4 million for the extended weekend. The biopic, alongside Babylon, opened Dec. 23, two days after Puss in Boots 2 launched (Avatar 2 began its run on Dec. 16).
TriStar’s I Wanna Dance with Somebody, which cost $45 million to make before marketing, should finish Monday with a tepid domestic total of $16 million. The movie is faring better overseas, grossing $8.3 million from 44 markets for a foreign tally of $13.1 million and $29.1 million globally.
From Paramount, Damien Chazelle’s Babylon is an even bigger disappointment, having cost $78 million to produce before marketing. The movie, which will no doubt lose tens of millions, is looking at a four-day gross of just $3.6 million for a domestic total of $11 million through Monday (it isn’t launching overseas until January).
There are no new wide releases over New Year’s weekend.
At the specialty box office, Tom Hanks-starred A Man Called Otto is opening in four theaters in New York and Los Angeles. The Sony movie should post a pleasing location average of $18,750 for the holiday weekend.
Among other specialty releases, The Whale expanded into more than 600 theaters. The movie should place No. 7 this weekend with an estimated $1.8 million for a domestic total of $6.2 million through Monday.
MGM and UAR’s Women Talking, opening over Christmas in eight locations, grossed an estimated $53,000 this weekend for a location average of $6,625.
This article was originally published by The Hollywood Reporter.
It sounds like Mamma Mia! Here We Go Again director Ol Parker might be ready to take a chance on pursuing another film in the musical franchise.
Parker, who helmed Universal Pictures’ 2018 follow-up to director Phyllida Lloyd’s 2008 hit Mamma Mia!, told Screen Rant in an interview published online Saturday (Dec. 17) that producer Judy Craymer has always intended to make a film trilogy. Craymer has credits on both films and also the ABBA-centric jukebox musical of the same name, which was the basis for the first movie and has had runs on the West End and Broadway.
“Judy Craymer, the genius producer behind the musical and the first two films, always plans for it to be a trilogy,” Parker teased. “That’s all I can say. The first one made an enormous amount of money, and I think we made a fair amount too.”
The Ticket to Paradise filmmaker continued, “I know that there is a hunger for a third, and I know that she has a plan. Wouldn’t it be lovely?”
Mamma Mia! Here We Go Again brought back such castmembers from the first film as Meryl Streep, Amanda Seyfried, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Dominic Cooper and Christine Baranski, along with adding new players including Lily James and Cher.
In her review for The Hollywood Reporter, film critic Leslie Felperin noted that the sequel’s selection of ABBA tunes was less notable than that of the first: “Indeed, the movie’s biggest failing is that so much of its soundtrack, the very engine that propels it, is made up of far too many actual B-sides, or at least lesser-known tunes from the back catalogue of Benny Andersson and Bjorn Ulvaeus, the two Swedish singer-songwriters who made up half of the 1970s pop quartet ABBA.”
Here We Go Again collected $395 million worldwide, which was well below the 2008 film’s $609 million global take.
This article originally appeared on The Hollywood Reporter.
Will Smith took over Red Table Talk Wednesday (Dec. 14) to talk about his new Apple TV+ film Emancipation, and things got pretty heavy when he opened up about the almost traumatic effects of portraying Peter, a character based on a real life man who escaped slavery in the 1860s and later posed for a now infamous photo of the whip scars on his back.
“I was getting called the N word a hundred times a day by very good actors,” he said on the latest episode of RTT, also hosted by his three children, Trey, Jaden and Willow. “It’s rough, it twists your mind up.”
The King Richard star went on to recall a moment onset that helped him fully transform into Peter: When he was trying on neck chains, used by slaveowners to control enslaved people’s movements, and a crew member suddenly discovered that he was unable to get the chains off of Smith.
“He goes to take it off, and it doesn’t work,” Smith said. “It’s locked on and my heart jumps. He’s running around looking for the keys, and for 15 minutes I’m stuck there in the chains. I’m like ‘Will, do not freak.’”
“I’m sitting there and I got it,” he continued. “I’m Will Smith with people running around looking for keys, and my heart is still pounding and I’m still scared. Imagine what it was like for Peter to have that stuff on, barefoot, and nobody cares. It was like, yeah, I got it. I haven’t been able to articulate why, but I felt embarrassed. It was emasculating, dehumanizing, all of that.”
Smith also confessed to his children that he almost went too far during his mental preparations to play Peter, nearly losing himself in the process. This is because the brain stores memories of his time acting as a character as if they were real memories, meaning they still have a real-life effect on Smith even though filming for the movie is long over, he said.
“I wouldn’t say I went too far with Peter, I’d just say I lost track of how far I went,” he said, explaining that he has nightmares from his time on the Emancipation set. “When you go that one click too far, Will Smith disappears. Psychologically, you go farther and farther into Peter and you don’t realize that you are slipping away.”
Emancipation was released on Apple TV+ on Dec. 9.
Kate Hudson has learned a lot about herself thanks to her relationships with others. That especially goes for her difficult breakup from Muse frontman Matt Bellamy, which the Glass Onion: A Knives Out Mystery actress opened up about in a recent appearance on Josh Smith’s Reign podcast.
Things got deep when Smith asked Hudson about the ways she is similar to an onion, a funny reference to the title of her newest film, which arrives on Netflix Dec. 23 following a one-week theatrical release in November. “I’m still peeling back those layers,” she laughed.
“I think we all are,” continued the actress, who landed a spot on Billboard‘s Digital Song Sales chart in September 2012 when her feature on the Glee cast’s song “Americano/Dance Again” peaked at No. 61. “We all have to figure out what’s at the core of our own little onion. I think that’s when things started changing for me — when I started taking far more accountability for my own s–t.”
When Smith pressed the Almost Famous star for a life moment that prompted her to start taking accountability — something she said is “liberating” — Hudson brought up her split from Bellamy, with whom she shares 11-year-old son Bing.
“After my second failed baby-daddy relationship,” she said. “That moment for me was like, ‘Now I have to figure this out.’”
Hudson welcomed her first child, now 18-year-old son Ryder, in 2004 with The Black Crowes’ Chris Robinson, to whom she was married from 2000 to 2007. She was engaged to Bellamy from 2011 to 2014.
“That was really hard for me because I didn’t want that to end,” she said of her relationship with the Muse singer. “I need to figure out what this is in my life, this pattern I keep repeating, and take accountability for it. I think the issue is when people blame everybody else for any challenges or hardships. I don’t want to be friends with that person.”
The Bride Wars star is now engaged to Danny Fujikawa, and the two share 4-year-old daughter Rani.
Julie Andrews is sharing her thoughts on a potential role in the third Princess Diaries.
In an interview with Access Hollywood on Tuesday (Dec. 6), The Sound of Music actress addressed if she would appear in a chapter in one of her first public comments since the project was announced as being in development. In the first two films, Andrews played Queen Clarisse Renaldi, the grandmother of Anne Hathaway’s character, Mia Thermopolis.
“I think we know that it’s probably not going to be possible. It was talked about very shortly after two [The Princess Diaries 2: Royal Engagement] came out, but it’s now how many years since then? And I am that much older and Annie the princess, or queen, is so much older. And I am not sure where it would float or run,” Andrews said. “In terms of us doing it, I doubt that now.”
In November, The Hollywood Reporter broke the news that Aadrita Mukerji is writing a script for a new installment of Princess Diaries for Disney. According to sources, the movie is a continuation of the series of films that Anne Hathaway starred in rather than a reboot.
THR reported that sources say Hathaway does not have a deal to return to the franchise but hope she would return if the film moves forward. In the past, the Les Misérables actress has shared her support publicly for a third film.
This isn’t the first time Andrews has expressed her thoughts about returning to the Princess Diaries franchise. In 2019, during a visit to Watch What Happens Live With Andy Cohen, the Mary Poppins star responded to rumors surrounding the potential film, saying, “The truth is I haven’t heard. There’s been talk about it for quite awhile.”
More recently, in June 2022, Andrews spoke to THR ahead of receiving the AFI Life Achievement Award, calling her return a “lovely thought.”
But when asked if she would want to revisit the franchise, she said, “I think it would be too late to do it now. There was talk of a sequel many, many years ago. But I don’t think it ever came to pass. And Garry then did leave us. [Marshall died in 2016.] [For] especially me, it’s too far down the line now to go back to it.”
For the new film, Debra Martin Chase is returning to produce after working on the first two Princess Diaries. Melissa Stack, the screenwriter for The Other Woman and Godmothered, is executive producing.
This article originally appeared on The Hollywood Reporter.
The Weeknd has something in the works with Avatar: The Way of Water, the upcoming long-awaited sequel to 2009’s Avatar.
“12.16.22,” The Weeknd wrote on Sunday (Dec. 4) on Twitter, along with a 12-second music clip featuring the blue Avatar logo. Dec. 16 is the day the James Cameron-directed film is set to be released by Disney.
“#AvatarTheWayOfWater x @theweeknd,” the official Avatar account tweeted soon after.
Film producer Jon Landau also shared a snapshot with The Weeknd and wrote, “As the Na’vi say, ‘Zola’u nìprrte’ soaiane Avatar’… Welcome to the Avatar family.”
The original Avatar became the highest-grossing movie of all time ($2.92 billion worldwide) and received nine Oscar nominations, winning three of those awards: best art direction, best cinematography, and best visual effects.
The Weeknd last released new music with Dawn FM, his fifth studio album, which peaked at No. 2 on the Bllboard 200 albums chart in January 2022.
See the teaser tweets about The Weeknd’s involvement in the new Avatar film below.
George Jones and Tammy Wynette were both long gone by the time Michael Shannon and Jessica Chastain began filming George & Tammy, a six-episode series that premieres on Showtime Dec. 4. However, the actors still found a way to commune with the legendary country artists.
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“We came to Nashville and did some recording,” Shannon tells Billboard. “The studio that we recorded at was adjacent to the cemetery where George is buried and Tammy’s remains are. So, we would sing their songs and then go and visit them.” Wynette died in 1998 and Jones in 2013.
Playing the country icons was daunting, the actors admit, especially when it came to doing their own singing. “I had so much anxiety and stress about trying to sound like her, but that’s an impossible thing to do,” Chastain says. “She had a once-in-a-lifetime gift.”
Taking on the emotional weight of the troubled couple, who were married from 1969-1975, could also be taxing, so Shannon would try to lighten the mood “if you think fart noises are funny,” he says, cracking Chastain up. “We did actually do something that probably no one would ever expect,” she adds. “We had a bouncy castle day because it was someone’s birthday and I got Mike into the bouncy castle, which is a sight I thought I’d never see.”
The pair, who have been friends since they appeared together in 2011’s Take Shelter, sat down with Billboard recently in Nashville to discuss how they prepared for their roles, why they did their own singing and reveal their favorite Jones and Wynette songs.
Billboard: Jessica, Abe Sylvia, whom you worked with on The Eyes of Tammy Faye, is writer and co-executive producer of George & Tammy. Is that how you got involved?
Chastain: No, someone approached me in 2011 at the Golden Globes, and said, “Hey, do you want to play Tammy Wynette?” It was like my first awards show and I was like, “Yeah, that sounds great. I love that song.” (laughs) There were many, many iterations of it, different directors. And budget wise, it was so expensive with all the music and all the stories we wanted to tell in two hours, it just felt like it wasn’t going to happen. At one point, it just kind of disappeared because it was so expensive. And then, in the beginning of the pandemic, Abe called me and said, “What if we make it a mini-series?” And that sounded very exciting. I’ve been reading about Tammy Wynette for 11 years.
Michael, you’ve said you didn’t know that much about George and that you’re more into jazz. What was your interest in playing him?
Shannon: Jessica asked me about it. I read his autobiography. I was really seduced by his voice, by his singing and his songs. I felt a little self-conscious about it because I don’t think I really resemble George Jones much, but I was excited to have an opportunity to sing and tell a story through singing because I do like to sing.
You used to have your own band. How did that help you since you’ve been in front of an audience performing?
Shannon: I don’t get super nervous about being up in front of a bunch of people, but to try and sing like George is no small feat. I don’t really think anybody can sing like George. But I sure worked hard on it, and we had a vocal coach, Ron Browning, who helped us train for a few months before we even started shooting.
What was your approach in terms of capturing their vocal styles?
Shannon: We wanted to tell the story through singing. The part that really intrigued me is how George and Tammy would tell the story of their life every time they sang together or alone. Even though the songs oftentimes weren’t written by them, they were still communicating by singing them. You can pick the same song and watch 10 different performances of it and get 10 completely different stories just based on the way they’re looking at each other. We could have just lip-synced everything, but I think in order for us to inhabit the people, we had to perform.
When you were doing your research, was there one thing that you clued in on that helped you find the character?
Chastain: I don’t know that this is right at all–I never had the opportunity to meet her–but I felt like she was an incredibly sensuous person, watching her sing, watching her interviews. Everything about her, I think she loved being a woman. She loved cooking. She loved makeup and hair. I found that to be a way in. She loved men at a time where you get married and stay married forever, she married five times. I think a lot of that also has to do with the fact that she loved being around men. Again, my interpretation, but it was kind of my way into playing her.
What about for you, Michael?
Shannon: I don’t know. It’s such a complex journey, George’s life. Every day when I got to work, there was an interview I’d listen to. It was an interview that George and Tammy did together. It coincided with the release of record that they made together for Epic and George talks about finally getting to Epic 17 years (in). It was kind of my morning ritual, put that on and listen to his voice. Listen to him and Tammy together.
There’s a scene in Ken Burns Country Music documentary where record producer Billy Sherrill calls them wounded animals. These are really talented, but tragic people.
Chastain: I think what’s so interesting sometimes about people is when they’re not afraid of their darkness and they’re willing to live in it and willing to explore it and try to move through it. And I think a lot of times we live our lives trying to hide it from others, try to appear to be perfect and hide anything that feels ugly or might upset someone away. The thing about George and Tammy that you see when they sing together is they were just so open. She was in another time period, so she had to hide a lot about who she was, but I don’t think she had to hide from George. I don’t know how I would have been able to even approach playing this character without coming to set knowing that Mike was going to be there playing George because when you’re telling those kinds of stories, you need open people willing to go to dark places to do it.
Do you think they were the love of each other’s lives?
Chastain: We gotta be careful because there’s some people still alive. Do you know what I mean? Oof.
Shannon: I’ll put it this way, I don’t really see the point in making this show if the basic premise of the show isn’t that George and Tammy were the love of each other’s [lives]. That’s kind of the Christmas tree that all the ornaments are hanging on, at least in this particular show. Now, there’s 555 million versions of the story and everybody’s got a different one. Neither one of us would say this is the absolute, irrefutable God’s honest truth of every single moment of George and Tammy’s life, but it’s the story that we signed on to tell.
Chastain: And sometimes being with a love of your life isn’t a healthy thing…It’s not written in any of the books, but people who were there said that they were still romantic later in life. So that’s in our show so I’m not speaking out of turn. So, there were a lot of surprises.
Whether musically or otherwise, after they split, they always found their way back to each other.
Chastain: And when she died, George wrote letters to DJs talking about the circumstances of her death. They were always connected.
What’s your favorite George song and favorite Tammy song?
Chastain: I love “The Race Is On.” I think that’s one of the best songs ever written. I love the lyrics. I love the music. And for her, “Apartment No. 9.” That’s pretty great.
Shannon: “Help Me Make It Through the Night” for Tammy. With George, “Bartender’s Blues.”
Lasting impressions of Nashville?
Chastain: I just loved the people that we got to work with. The guys in the band, a lot of them are session players here in Nashville. There were times I would come on to set and, Mike, I think you were getting ready to do “Beneath Still Waters” and in the breaks all the guys would just start playing and Michael started singing a different song and they would just be jamming. That was incredibly inspiring to be around that all the time. I loved the people here in Nashville and the kind of music history that I got to learn.
Joe Jonas opened up in a new interview on Tuesday (Nov. 22) about what it was like tackling his big screen acting debut in the new war drama Devotion.
“Yeah, there were nerves that would come into play here and there, but it’s good to feel something like that again,” the Jonas Brothers singer told Entertainment Weekly of his experience on the set of the Korean War epic. “It’s been a while since I was putting myself in rooms where you’re like, ‘Oh, okay, I’ve got to show up, I’ve got to show my worth in this, and the pressure is on now,’ and how do you bottle that up and utilize it and use it to your advantage, instead of letting it just eat you and take over.”
For the film, which hit theaters nationwide Wednesday (Nov. 23), Jonas also recorded “Not Alone,” his new collab with Khalid. Co-written with Ryan Tedder, the emotional ballad plays over the end credits of Devotion. “I got to see the movie early on, and I brought my friend Ryan Tedder,” he said. “There was a grand piano that happened to be in the screening room, so we started working on the song and brought in a friend of ours, Harv, and I brought in Khalid, and we finished the tune, and that became ‘Not Alone.’
“It really came down to the fact that the one thing [the characters] have is that they’re there for each other, regardless if they are there for them physically,” he added of the track’s thematic connection to the movie.
Telling the story of real-life fighter pilots Jesse Brown and Tom Hudner, Devotion also stars Jonathan Majors, Glen Powell, Christina Jackson, Ali Asghar Shah, Thomas Sadowski, Serinda Swan, Daren Kagasoff and more.
Rihanna’s “Lift Me Up” won song – feature film at the 13th annual Hollywood Music in Media Awards ceremony, which was held at the Avalon in Hollywood on Wednesday, Nov. 16. Rihanna co-wrote the song from Black Panther: Wakanda Forever with Tems, Ryan Coogler and Ludwig Göransson.
Terence Blanchard’s The Woman King won score – feature film.
Unlike the Oscars, which present just best original song and best original score, the HMMAs have five categories for songs and eight for scores. As a result, trophies here are much easier to come by. Even so, the HHMAs are seen as early indicators of the Oscars. Nominations-round voting for the Oscars extends from Jan. 12-17, 2023. Oscar nominations will be announced on Jan. 24.
The HMMAs also have a broader scope than the Oscars. They honor composers, songwriters and music supervisors for their work in film, television and video games.
Alexandre Desplat was the only double winner on the night. He won score – animated film for Guillermo Del Toro’s Pinocchio and song – animated film for “Ciao Papa” from that film. He composed the song, which has lyrics by Roeben Katz and del Toro.
Two of the most intriguing categories are ones where the Oscars don’t have an equivalent. The HMMAs have a separate category for song – onscreen performance. (Nominations go to the performers, not the songwriters.) The winner was Billy Eichner’s “Love Is Not Love” from Bros. Eichner co-wrote the song with film music veteran Marc Shaiman.
Billy Eichner at the 13th Annual Hollywood Music In Media Awards.
Robert Smith
The Oscars also don’t have an equivalent category for music-themed film, biopic or musical. At the Oscars, these films compete with all other films for best picture. The winner was Tár.
Nor do the Oscars have a category for music documentary/special program. At the Oscars, these films compete with all other docs for best documentary feature. The winner was Killing Me Softly With His Songs.
Musical highlights included Charles Fox performing a medley of his TV theme songs; Diane Warren performing “Applause,” her winning song from Tell It Like a Woman; Rita Wilson performing “Til You’re Home,” her original song from A Man Called Otto; and Iranian singer Mojgan Shajarian, daughter of Maestro Mohammad-Reza Shajarian, performing “Morghe Sahar.”
Kurt Farquhar, prolific television composer and the recipient of the HMMA Career Achievement Award, gave an inspiring acceptance speech about growing up in Chicago and experiencing homelessness before beginning his career as a composer. He extended thanks to his brother, Ralph Farquhar, who helped him get his first jobs in television. He urged Hollywood to consider working with composers and creatives that aren’t the obvious choice.
Presenters included composers Justin Hurwitz, Nami Melumad and Amie Doherty and Ralph Johnson of Earth, Wind & Fire.
Here’s the complete list of nominees, with winners checked:
SONG AWARDS
Song – feature film
WINNER: “Lift Me Up” from Black Panther: Wakanda Forever. Written by Tems, Rihanna, Ryan Coogler, and Ludwig Göransson. Performed by Rihanna.
“(You Made it Feel Like) Home” from Bones and All. Written by Trent Reznor & Atticus Ross. Performed by Trent Reznor, Atticus Ross and Mariqueen Maandig Reznor.
“Love Is Not Love” from Bros. Written by Billy Eichner & Marc Shaiman. Performed by Billy Eichner.
“Do a Little Good” from Spirited. Written by Benj Pasek and Justin Paul. Performed by Ryan Reynolds, Will Ferrell, Sunita Mani, Patrick Page and Tracy Morgan.
“Stand Up” from Till. Written by Jazmine Sullivan and D’Mile. Performed by Jazmine Sullivan.
“Hold My Hand” from Top Gun: Maverick. Written by Lady Gaga & BloodPop. Performed by Lady Gaga.
“Carolina” from Where the Crawdads Sing. Written and performed by Taylor Swift.
“new body rhumba” from White Noise. Written by James Murphy, Nancy Whang, Patrick Mahoney. Performed by LCD Soundsystem.
“The Songcord” from Avatar: The Way of Water. Written by Simon Franglen. Performed by Zoe Saldana
“Time” from Amsterdam. Written by Jahaan Sweet, Aubrey Drake Graham, Daniel Pemberton, Giveon Evans. Performed by Giveon.
Song – animated film
“Sunny Side Up Summer” from The Bob’s Burgers Movie. Written by Loren Bouchard, and Nora Smith. Performed by Dan Mintz, Eugene Mirman, H. Jon Benjamin, John Roberts, and Kristen Schaal.
“Nobody Like U” from Turning Red. Written by Billie Eilish and Finneas O’Connell. Performed by 4*TOWN (Finneas O’Connell, Grayson Villanueva, Jordan Fisher, Josh Levi, and Topher Ngo)
“Lift Your Wings” from My Father’s Dragon. Written by Mychael Danna, Jeff Danna, Frank Danna, Nora Twomey, Meg LeFauve. Performed by Anohni.
“Turn Up the Sunshine” from Minions: The Rise of Gru. Written by Jack Antonoff, Kevin Parker, Sam Dew, Patrik Berger. Performed by Diana Ross and Tame Impala
WINNER: “Ciao Papa” from Guillermo Del Toro’s Pinocchio. Written by Alexandre Desplat, Lyrics by Roeben Katz and Guillermo del Toro. Performed by Gregory Mann
Song – documentary film
“My Mind and Me” from Selena Gomez: My Mind & Me. Written by Selena Gomez, Amy Allen, Jonathan Bellion, Michael Pollack, Stefan Johnson, Jordan K Johnson. Performed by Selena Gomez.
“At the Automat” from The Automat. Written and performed by Mel Brooks
WINNER: “Ready As I’ll Never Be” from The Return of Tanya Tucker – Featuring Brandi Carlile. Written by Brandi Carlile and Tanya Tucker. Performed by Tanya Tucker.
“Sing a Brand New Song” from Killing Me Softly With His Songs. Written by Charles Fox and Lonnie “Common” Rashid Lynn. Performed by Donald Webber, Jr.
“Dust & Ash” from The Voice of Dust and Ash. Written by J. Ralph. Performed by J. Ralph & Norah Jones
“We Are Art” from We Are Art Through the Eyes of Annalaura. Written by Annalaura di Luggo and Paky Di Maio. Performed by Annalaura di Luggo.
“A Sky Like I’ve Never Seen” from Wildcat. Written by Robin Pecknold. Performed by Fleet Foxes.
Song – independent film
WINNER: “Applause” from Tell It Like a Woman. Written by Diane Warren. Performed by Sofia Carson.
“Til You’re Home” from A Man Called Otto. Written by David Hodges and Rita Wilson. Performed by Rita Wilson and Sebastián Yatra
“This Is a Life” from Everything Everywhere All at Once. Written By Ryan Lott, David Byrne and Mitski. Performed By Son Lux with Mitski and David Byrne.
“We Two Made One” from The Silent Twins. Written by Marcin Macuk, Zuzanna Wrońska, June Gibbons, Jennifer Gibbons. Performed by Tamara Lawrance.
“Stand the Test of Time” from Tomorrow’s Game. Written and performed by Lionel Cohen and Stefni Valencia.
Song – onscreen performance
“Naatu Naatu” from RRR – Rahul Sipligunj, Kaala Bhairava
“Baby Let’s Play House” from Elvis – Austin Butler
“Cucamonga” from Knights of Swing – Knights of Swing
WINNER: “Love Is Not Love” from Bros – Billy Eichner
“On My Way (Marry Me)” from Marry Me – Jennifer Lopez
SCORE AWARDS
Score – feature film
Marcelo Zarvos – Emancipation
Trent Reznor and Atticus Ross – Empire of Light
Nicholas Britell – She Said
Carter Burwell – The Banshees of Inisherin
WINNER: Terence Blanchard – The Woman King
Abel Korzeniowski – Till
Mychael Danna – Where the Crawdads Sing
Danny Elfman – White Noise
Hildur Guðnadóttir – Women Talking
Score – animated film
Steve Jablonsky – DC League of Super-Pets
WINNER: Alexandre Desplat – Guillermo Del Toro’s Pinocchio
John Debney – Luck
Heitor Pereira – Puss in Boots: The Last Wish
Daniel Pemberton – The Bad Guys
Finneas, Ludwig Göransson – Turning Red
Score – sci-fi film
Lorne Balfe – Black Adam
Ludwig Göransson – Black Panther: Wakanda Forever
WINNER: Danny Elfman – Doctor Strange in the Multiverse of Madness
Michael Giacchino – Spider-Man: No Way Home
Michael Giacchino – The Batman
Michael Giacchino and Nami Melumad – Thor: Love and Thunder
Score – fantasy film
Tom Holkenborg –Three Thousand Years of Longing
WINNER: Simon Franglen – Avatar: The Way of Water
James Newton Howard – Fantastic Beasts: The Secrets of Dumbledore
Bruno Coulais – Wendell & Wild
Joseph Metcalfe, John Coda, Grant Kirkhope – The King’s Daughter
Score – horror film
Anna Drubich – Barbarian
John Carpenter, Cody Carpenter & Daniel Davies – Halloween Ends
WINNER: Michael Abels – Nope
Lance Treviño – Scream Legacy
Mark Korven – The Black Phone
Colin Stetson – The Menu
Score – documentary
Simon Poole – Black Ice
Ray Angry, Rhiannon Giddens, Dirk Powell – Descendant
Lisbeth Scott – Gratitude Revealed
Emilie and Peter Bernstein – Landis: Just Watch Me
WINNER: Jessica Jones – The Tinder Swindler
Clare Manchon, Olivier Manchon – Turn Every Page – The Adventures of Robert Caro and Robert Gottlieb
Score – independent film
Xander Rodzinski – Dead for a Dollar
Jessica Weiss – Don’t Make Me Go
Son Lux – Everything Everywhere All at Once
WINNER: Emilie Levienaise – Farrouch – Living
Alexandre Desplat – The Outfit
Rob Simonsen – The Whale
Score – independent film (foreign language)
WINNER: Carlo Siliotto – Cuando Sea Joven (Spanish)
Paweł Mykietyn – EO (Polish)
Min He – Railway Heroes (Mandarin)
M. M. Keeravaani – RRR (Telugu)
Volker Bertelmann – War Sailor (Norwegian)
Music themed film, biopic or musical
Elvis – Produced by Gail Berman, Baz Luhrmann, Catherine Martin, Patrick McCormick, Schuyler Weiss. Directed by Baz Luhrmann
Guillermo Del Toro’s Pinocchio – Produced by Alexander Bulkley, Corey Campodonico, Guillermo del Toro, Lisa Henson, Gary Ungar. Directed by Guillermo del Toro and Mark Gustafson
Spirited – Produced by Diana Pokorny, Daniel Silverberg, David Koplan, Sean Anders, John Morris, George Dewey, Jessica Elbaum, Ryan Reynolds, Will Ferrell. Directed by Sean Anders and John Morris.
WINNER: Tár – Produced by Todd Field, Scott Lambert, Alexandra Milchan. Directed by Todd Field.
Weird: The Al Yankovic Story – Produced by Eric Appel, Lia Buman, Mike Farah, Joe Farrell, Zachary Halley, Tim Headington, Whitney Hodack, Henry R. Munoz III, Neil Shah, Max Silva, ‘Weird Al’ Yankovic. Directed by Eric Appel.
Music documentary/special program
Halftime – Produced by Courtney Baxter, Jason B. Bergh, Bernardo Loyola, Christopher Rouse, Yong Yam. Directed by Amanda Micheli and Sam Wrench
Hallelujah: Leonard Cohen, a Journey, a Song – Produced and Directed by Daniel Geller and Dayna Goldfine
WINNER: Killing Me Softly With His Songs – Produced by Danny Gold, Robert Bader, Lisa Lautenberg Birer, Mark Brown, Jay Firestone, Phil Ittner, Bruce Levine and Taryn Grimes. Directed by Danny Gold
Louis Armstrong’s Black and Blues – Produced by Sara Bernstein, Justin Wilkes, Sacha Jenkins and Julie Anderson. Directed by Sacha Jenkins.
Selena Gomez My Mind & Me – Produced by Alek Keshishian p.g.a., Michelle An p.g.a., Katherine LeBlond. Directed by Alek Keshishian
Still Working 9 to 5 – Produced and Directed by Camille Hardman and Gary Lane
The Voice of Dust and Ash – Produced by Mandana Biscotti, Ben Biscotti, and Sam Changizi. Directed by Mandana Biscotti
Idina Menzel and James Marsden sang together on The Late Late Show with James Corden Wednesday night (Nov. 16), and you could definitely say it was shining, shimmering, splendid. Two days ahead of the premiere of their new film Disenchanted — sequel to 2007’s beloved Enchanted — the pair put their interview with James Corden on pause to perform a spontaneous duet of “A Whole New World” from Disney’s Aladdin.
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The impromptu musical moment started after Marsden shared how he and costar Amy Adams are both “super fans” of Menzel and recalled how they would frequently plead with the Frozen actress to sing with them on set. “He’s just a real pain in the ass, though,” Menzel joked. “Amy Adams too, they were always singing and dancing even when they’d said cut. You just behaved horribly!”
“In the makeup trailer, we’d go to Idina and say, ‘Hey, will you sing a song with me?’” Marsden added.
Then, recreating what those between-takes makeup trailer sing-alongs looked like, he dove right into Aladdin’s opening lines of “A Whole New World” — staring hopefully at Menzel the entire time so that she would indulge him in singing Princess Jasmine’s part in the song.
“A whole new world,” she obliged once it came to her turn, prompting loud cheers from the audience.
And, ever the professional, the Wicked Broadway star added a harmony over the final lines of the song. “Let me share this whole new world with you,” the two sang, staring into each other’s eyes.
Prior to his adorable duet with Menzel, the 27 Dresses actor had also shown off his musical impression of John Legend. “All of me, loves all of you,” Marsden sang, nailing Legend’s rich vibrato in his Hot 100 No. 1 “All Of Me.” “All your curves and all your edges, all your perfect imperfections.”
Watch Idina Menzel and James Marsden sing on The Late Late Show below.