State Champ Radio Film
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Greta Gerwig’s Barbie led the Astra Awards nominations with 15 nods, while Christopher Nolan’s Oppenheimer was a beat behind with 14. The films each received nominations for best picture, director and cast ensemble.
Barbie also took three of the six nominations for best original song for “Dance the Night,” “I’m Just Ken” and “What Was I Made For?”
The late Robbie Robertson is nominated for best original score for his work on Martin Scorsese’s Killers of the Flower Moon. He is competing with Ludwig Göransson’s score for Oppenheimer, among others.
Taylor Swift’s Taylor Swift: The Eras Tour, which made history as the top-grossing concert film of all time, is vying for best documentary feature with two other music docs (American Symphony, about Jon Batiste, and Little Richard: I Am Everything, about the flamboyant rock legend) and three non-music docs.
Killers of the Flower Moon and Spider-Man: Across the Spider-Verse and each received 10 nominations in the awards, which are presented by the Hollywood Creative Alliance. The Holdover and Poor Things are tied with nine nominations each. The Color Purple had eight, including best actress for Fantasia Barrino.
Bradley Cooper’s Maestro, about legendary conductor Leonard Bernstein, received seven nods including best actor and best director for Cooper and best actress for Carey Mulligan.
Winners of the 2024 Astra Film Awards will be revealed on Saturday, Jan. 6, during a live-streamed event from the Biltmore Hotel in Los Angeles, beginning at 6:30 pm PT/9:30 pm ET. Comedian Jimmy O. Yang will serve as host.
The Astra Creative Arts Awards winners will be revealed on Monday, Feb. 26 at City Market Social House in Los Angeles.
Here are nominees for the 2024 Astra Film and Creative Arts Awards in 14 selected categories:
Best Original Song
“Camp Isn’t Home” from Theater Camp, Written by Ben Platt, Noah Galvin, Molly Gordon, Nick Lieberman, and Mark Sonnenblick – Performed by Ben Platt, Molly Gordon, Noah Galvin, Alexander Bello, Bailee Bonick, Donovan Colan, Jack Sobolewski, Kyndra Sanchez, Luke Islam, Madisen Lora and Quinn Titcomb (Searchlight Pictures)
“Dance the Night” from Barbie, Written by Mark Ronson, Andrew Wyatt, Dua Lipa, and Caroline Ailin – Performed by Dua Lipa (Warner Bros. Pictures)
“I’m Just Ken” from Barbie, Written by Mark Ronson and Andrew Wyatt – Performed by Ryan Gosling (Warner Bros. Pictures)
“Peaches” from The Super Mario Bros Movie, Written by Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, and John Spiker – Performed by Jack Black (Universal Pictures)
“This Wish” from Wish, Written by Julia Michaels, Benjamin Rice, and JP Saxe – Performed by Ariana DeBose (Walt Disney Pictures)
“What Was I Made For?” from Barbie, Written By Billie Eilish O’Connell and Finneas O’Connell – Performed by Billie Eilish (Warner Bros. Pictures)
Best Score
Elemental, Thomas Newman (Disney/Pixar)
Killers of the Flower Moon, Robbie Robertson (Apple Original Films)
Oppenheimer, Ludwig Göransson (Universal Pictures)
Poor Things, Jerskin Fendrix (Searchlight Pictures)
Saltburn, Anthony Willis (Amazon MGM Studios)
Spider-Man: Across the Spider-Verse, Daniel Pemberton (Sony Pictures)
Best Documentary Feature
20 Days in Mariupol (PBS Distribution)
American Symphony (Netflix)
Beyond Utopia (Roadside Attractions)
Little Richard: I Am Everything (Magnolia Pictures)
Still: A Michael J. Fox Movie (Apple Original Films)
Taylor Swift: The Eras Tour (AMC Theatres Distribution)
Best Animated Feature
The Boy and The Heron (GKids)
Elemental (Disney/Pixar)
Nimona (Netflix)
Spider-Man: Across the Spider-Verse (Sony Pictures)
Suzume (Sony Pictures/Crunchyroll)
Teenage Mutant Ninja Turtles: Mutant Mayhem (Paramount Pictures)
Best Voice-Over Performance
Ariana DeBose – Wish (Walt Disney Studios)
Bradley Cooper – Guardians of the Galaxy Vol. 3 (Disney/Marvel)
Daniel Kaluuya – Spider-Man: Across the Spider-Verse (Sony Pictures)
Hailee Steinfeld – Spider-Man: Across the Spider-Verse (Sony Pictures)
Jack Black – The Super Mario Bros Movie (Universal Pictures)
Shameik Moore – Spider-Man: Across the Spider-Verse (Sony Pictures)
Best Cast Ensemble
Air (Amazon MGM Studios)
Barbie (Warner Bros. Pictures)
Killers of the Flower Moon (Apple Original Films)
Oppenheimer (Universal Pictures)
The Color Purple (Warner Bros. Pictures)
The Holdovers (Focus Features)
Best Supporting Actress
America Ferrera – Barbie (Warner Bros. Pictures)
Danielle Brooks – The Color Purple (Warner Bros. Pictures)
Da’Vine Joy Randolph – The Holdovers (Focus Features)
Julianne Moore – May December (Netflix)
Rachel McAdams – Are You There God? It’s Me, Margaret (Lionsgate)
Viola Davis – Air (Amazon MGM Studios)
Best Supporting Actor
Charles Melton – May December (Netflix)
Colman Domingo – The Color Purple (Warner Bros. Pictures)
Dominic Sessa – The Holdovers (Focus Features)
Glenn Howerton – BlackBerry (IFC Films)
Robert Downey Jr. – Oppenheimer (Universal Pictures)
Ryan Gosling – Barbie (Warner Bros. Pictures)
Best Actress
Carey Mulligan – Maestro (Netflix)
Emma Stone – Poor Things (Searchlight Pictures)
Fantasia Barrino – The Color Purple (Warner Bros. Pictures)
Greta Lee – Past Lives (A24)
Lily Gladstone – Killers of the Flower Moon (Apple Original Films)
Margot Robbie – Barbie (Warner Bros. Pictures)
Best Actor
Barry Keoghan – Saltburn (Amazon MGM Studios)
Bradley Cooper – Maestro (Netflix)
Cillian Murphy – Oppenheimer (Universal Pictures)
Colman Domingo – Rustin (Netflix)
Jeffrey Wright – American Fiction (Orion Pictures / Amazon MGM Studios)
Paul Giamatti – The Holdovers (Focus Features)
Best Original Screenplay
Air, Written by Alex Convery (Amazon MGM Studios)
Anatomy of a Fall, Written by Justine Triet & Arthur Harari (NEON)
Barbie, Written by Greta Gerwig & Noah Baumbach (Warner Bros. Pictures)
Past Lives, Written by Celine Song (A24)
Saltburn, Written by Emerald Fennell (Amazon/MGM Studios)
The Holdovers, Written by David Hemingson (Focus Features)
Best Adapted Screenplay
American Fiction, Screenplay by Cord Jefferson (Orion Pictures / Amazon MGM Studios)
Are You There God? It’s Me, Margaret, Screenplay by Kelly Fremon Craig (Lionsgate)
Killers of the Flower Moon, Screenplay by Eric Roth & Martin Scorsese (Apple Original Films)
Oppenheimer, Screenplay by Christopher Nolan (Universal Pictures)
Poor Things, Screenplay by Tony McNamara (Searchlight Pictures)
Spider-Man: Across the Spider-Verse, Screenplay by Phil Lord, Christopher Miller, Dave Callaham (Sony Pictures)
Best Director
Alexander Payne – The Holdovers (Focus Features)
Ben Affleck – Air (Amazon MGM Studios)
Bradley Cooper – Maestro (Netflix)
Celine Song – Past Lives (A24)
Christopher Nolan – Oppenheimer (Universal Pictures)
Cord Jefferson – American Fiction (Orion Pictures / Amazon MGM Studios)
Emerald Fennell – Saltburn (Amazon MGM Studios)
Greta Gerwig – Barbie (Warner Bros. Pictures)
Martin Scorsese – Killers of the Flower Moon (Apple Original Films)
Yorgos Lanthimos – Poor Things (Searchlight Pictures)
Best Picture
Air (Amazon MGM Studios)
American Fiction (Orion Pictures / Amazon MGM Studios)
Barbie (Warner Bros. Pictures)
The Color Purple (Warner Bros. Pictures)
The Holdovers (Focus Features)
Killers of the Flower Moon (Apple Original Films)
Maestro (Netflix)
Oppenheimer (Universal Pictures)
Past Lives (A24)
Spider-Man: Across the Spider-Verse (Sony Pictures)
Garth Brooks is opening up (a little!) about the upcoming This Is Spinal Tap sequel, slated to feature a cameo from not only Brooks, but fellow musical heavy-hitters Elton John and Paul McCartney.
The original 1984 film, which roasted all things rock ‘n’ roll, is getting an update in the new project, which is slated to begin filming in February, with original stars/writers Christopher Guest (Nigel Tufnel), Michael McKean (David St. Hubbins) and Harry Shearer (Derek Smalls) reprising their roles as a jinxed metal band.
In a livestream as part of Billboard Live Shopping Week with talkshoplive on Dec. 4 (which featured custom merch from the country star’s Friends in Low Places Bar & Honky Tonk in Nashville), Brooks answered a fan question about his upcoming cameo. Brooks was understandably reluctant to spill any details on his appearance in the movie, saying with a laugh, “Oh, with McCartney, and who is it, Elton maybe? No. Can’t say anything about it.”
He then clarified: “‘Cause it’s not my deal. If it’s my deal, I’d spill my guts, but it’s not, so they swear you to secrecy and to silence.” He did say, however, “If you think you have laughed before, Jiminy Christmas… First of all, I was in love with Spinal Tap, in love with the original movie. The fact that it’s coming back, it’s gonna be neat to be a part of this. Because this is history, man.”
Last week, Rob Reiner revealed that a Spinal Tap sequel was in the works on the RHLSTP With Richard Herring podcast and also let slip that Brooks, John and McCartney would make cameos plus a “few other surprises.”
Brooks’ Billboard Live Shopping Week livestream celebrated the soft opening of his Friends in Low Places Bar & Honky-Tonk — now open Thursdays through Sundays in Nashville — with exclusive bar merch only available through this shopping special. His live show also highlighted his new Bass Pro Box Set, which includes his new album Time Traveler and tickets to his Las Vegas residency, which just added 18 new dates next year.
It took Barbra Streisand 15 years to get Yentl into the world, but that journey seems almost brisk in comparison to the time her memoir spent in gestation. She wrote the first chapter by hand back in the ‘90s, lost it, and waited nearly another decade before starting up again. But on Nov. 7, her autobiography finally said “hello gorgeous” to shelves — and the New York Times Best Seller list.
My Name Is Barbra (which shares its name with a TV special and album she did in 1965) is more than just another book where a famous person puts their life story to paper. It’s the work of an incisive mind dissecting an EGOT-collecting career that started out in cramped Greenwich Village clubs in the early ’60s and soon exploded across Broadways stages, TV screens, movie palaces and the Billboard charts. (Billboard warrants several mentions in this book, though Streisand writes, “I was happy if a song went to number 1, but that was not my motivation” – not too bad for someone with five Hot 100 No. 1s and a dozen top 10s.)
Like any good celebrity memoir, smack is talked. Former co-stars such as Walter Matthau and Sydney Chaplin do not emerge unscathed, nor does ex-partner Jon Peters come out looking particularly good. And naturally, Streisand doesn’t hold back when it comes to assessing the good ole boys’ clubs that women in Hollywood – especially women who dare to direct – still face today. But the singer-actor-director reserves the lion’s share of dissection for herself, whether she’s bemoaning her early career interviews (“When I look at these articles today, I cringe. Did I really say that?”) or inviting us into her thought process as she agonizes over creative decisions made on decades-old projects.
Over the course of 970 pages (which, believe it or not, breeze by thanks to her clear, direct language and conversational tone), the book reveals a singular icon who is as concerned with creative control as she is self-examination.
Following the tome’s release, Streisand hopped on the phone with Billboard to share a few details that didn’t make the book and reveal one deliciously unexpected benefit of publishing her memoir.
Hello!
So, Joe, what do you wanna know?
In your book you talk about how you rarely relisten to your recordings or rewatch your movies. Once you finished this book, you had to record the audiobook – was that some form of torture?
I thought that was easier, of course, because I already wrote the book and now I could just read it and add what I want to here and there [the audiobook features various songs as well]. Half the time I was eating and I had to stop eating. I’m now eating blueberries while I’m talking, in case you hear it.
No worries. That’s healthy, certainly more than the coffee ice cream you write about in your book. Which, incidentally, is also my favorite flavor.
They stopped making my coffee ice cream, (McConnell’s) Brazilian coffee, and after they read — I guess it was in the New York Times — they said, “What can we do? How many can we send you? We’ll make a batch for you.” So I got 24 pints of my favorite ice cream. I’m gonna give some to my friends, too.
Thank you to @mccsicecream – they made me a batch of discontinued ice cream called Brazilian Coffee. It’s the best! P.S. If you all ask for it – maybe they’ll bring it back permanently! pic.twitter.com/GuLk3Ms4AA— Barbra Streisand (@BarbraStreisand) December 1, 2023
That’s amazing. In one chapter, you float the idea that this book might be seen as a work in progress. Well, some folks update their memoirs every few years – Stephen King has added postscript updates to his On Writing book a few times since it came out more than 20 years ago.
Really? Hmm. That’s an interesting idea. At the moment, I’m so tired of myself. I’m so tired of writing a book I can’t think that way. But I bet you if we’re all around five years from now I might want to do that, update the book. That could be interesting. I have a lot of thoughts as I’m getting up in the morning — I grab a tape recorder or grab my pad, because my mind is fresh in the morning.
In the book, you talk about attempting to record your debut album at the Bon Soir in Greenwich Village but being uphappy with the results and shelving it. That album finally came out last year.
That was my easiest album – it was what it was. All I had to do was work on the album cover.
It sounded jaw-droppingly good to me. I know the audio was cleaned up thanks to modern technology —
My audio performance was not touched. Nothing was cleaned up. I sang a couple of weird notes, but it is what it is and I’m a purist in that sense. My A&R man of 25-30 years, Jay Landers, and my great engineer, he was able to separate the instruments. We could never do that (back then). He’s kind of a genius.
Right, the new technology helped make a better mix. Had that technology existed back then, might you have released this album back in the ‘60s?
No, I didn’t like the sound of it. Jay showed me a picture of what the speakers were like in the Bon Soir — they were like little boxes of tissues basically. It wasn’t to my liking. I was always thinking of my work as a whole at a very young age — at 19.
When writing about A Star Is Born, you share that Kris Kristofferson wrote some lyrics for “Evergreen” around the time of the film but he didn’t show them to you until years later because he wasn’t happy with them. When you finally saw those lyrics, could you have seen incorporating any of his words into the song, had he shared them back in 1976?
No, no. It was not memorable. I loved the idea that he and I would have written that song together. But the lyric was not memorable. I love that he tried, but it wasn’t quite right for me.
Well, you can’t argue with the results – it won an Oscar, a Grammy and topped the Billboard Hot 100.
It’s that amazing about my manager, Marty Erlichman? When I played it for a couple of my musician friends, they thought it was okay. I played it over the phone with my lousy guitar playing, and they thought it was nice. But when I played it for Marty Erlichman, he said, “That’s gonna be a hit.” I said, “How do you know, Marty?” He says, “If I can remember a melody, I know it’s gonna be a hit.” Isn’t that funny? He was a week off from when it became No. 1 (with his guess).
Courtesy Photo
Did you ever have the sense of what songs of yours would go No. 1?
Like “Woman in Love”? Not at all. It wasn’t my philosophy. “I’m a woman in love and I’ll do anything”? I couldn’t relate to that. What would I do, trick him? All those years it was No. 1, I never sang it in concert until the last time I did a concert. (Barry Gibb) was amazing. I just did a little film clip because he’s entering the Kennedy Center Honors, I filmed a little piece for him. That timing was perfect. I was writing Yentl, I didn’t have the time to make that album. It worked out perfectly when he said, “I’ll mix everything, sing the other parts — whatever it is, I’ll do it. You just have to sing the songs 10 times.” So while they were working on the arrangements, I was sitting there writing.
In the book, you mention that certain numbers are lucky for you. Did writing chapters that coincided with a lucky number feel different?
No. I’ve always known the numbers two and four seem to be lucky for me. When they first counted the pages I wrote, it was 1,024.
So they ended up cutting 50-60 pages?
I wanted them to cut more of it because I was aching to have two separate books and one cover, like a package. How are people going to hold a book that’s 970 pages? I wouldn’t want to hold a fat book like that.
Were any of the cuts hard? Did it sting to lose anything?
No, nothing I cared that much about. I thought more should be cut. I was so sick of writing a book already. During the pandemic it was fine, everybody was at home, but then I wanted to travel and could not. Had to stay on track.
A lot of people you write about in the book are still in your life. Did you ever show them what you were writing as you wrote it? Like Marty, for example?
No, I didn’t have time. I didn’t show it to anybody. I had no idea how it would be received. I mean, a couple people that had to do with my music — maybe to get certain things exactly right they would read a little bit of it. But I didn’t want anybody’s opinions, except my editor. It would have been too confusing to me to get opinions too early. It just felt wrong to ask anybody.
So you get the final cut, as always.
They expected me to write it in two years. In two years I was still thinking about it. I told you that I started writing this book by longhand in 1999. I kept many journals, like 35 of them. But I hate going backwards. I hate having to look myself up. Look at my journals again? I gave the journals to my editor in the process over the years who would say, “You said this in that journal in 2006 or whatever.” And I said, “Really? I said that?” I like to be — as I work as an actress — I like to be in the moment and present now. I wish it was something else I was talking about other than myself.
It’s finally here! After weeks of waiting, two premieres (one in L.A. and one in London), and three trailers, Beyoncé‘s highly-anticipated concert documentary, Renaissance: A Film by Beyoncé, has hit theatres at long last.
The film provides a rare peek into Beyoncé’s behind-the-scenes process, namely how she runs her ship as the Mother of the House of Renaissance. Over nearly three hours, the documentary treats fans to pristine footage of several nights of the superstar’s record-breaking Renaissance World Tour. Seamless edits showcase the endless variety of haute couture costumes the “Break My Soul” singer flaunted across her 56 sold-out shows, and intimate black-and-white scenes present the Beyoncé her family sees offstage.
Written, directed and produced by Beyoncé herself, the film — which is evenly split between the concert (just about every track made the final cut) and behind-the-scenes footage — is as much about the enigmatic artistic genius as it is about community — the various intersecting communities that crafted the album and tour, enjoyed the music at the concerts, and inspired the throughlines of Black queer liberation that course through Queen Bey’s most recent musical era.
Nearly all of the tour’s special guests — Blue Ivy Carter, Megan Thee Stallion, Kendrick Lamar, Diana Ross, among them — make cameos in the film, alongside Beyoncé’s family (including JAY-Z, Ms. Tina Knowles and twins Rumi and Sir Carter!) and former Destiny’s Child bandmates Kelly Rowland, Michelle Williams, LeToya Luckett and LaTavia Roberson.
Even though we’re over a year removed from the release of Renaissance, it’s a body of work that continues to resonant deeply. The album ranked atop the 2023 Year-End Dance/Electronic Albums chart, and the tour helped Beyoncé earn the biggest touring year in Billboard Boxscore history ($570.5 million), making her No. 1 on the Year-End Billboard Boxscore Top Tours chart.
Clearly, the Renaissance is still in full swing, and now we can all see how Beyoncé got us here. Without further ado, here are seven of the best moments of Renaissance: A Film by Beyoncé.
Barbie is likely to be well represented when the Academy Award shortlists are revealed Dec. 21. At least two (and maybe even three) songs from the box-office juggernaut could be in contention for best original song (though only two from a film can be nominated, according to a 2008 rule change).
Diane Warren and Alan Menken are each looking to score their 15th best original song nominations, a benchmark that only five songwriters have reached. If John Williams and the late Robbie Robertson are nominated for best original score, each could make history.
“I’m Just Ken”Mark Ronson, Andrew WyattBarbie, Warner Bros.
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Ronson and Wyatt won in this category five years ago for co-writing “Shallow” from A Star Is Born. “I’m Just Ken,” sung by Ryan Gosling, provided one of the funniest sequences in Barbie. Ronson and Wyatt could have a second Barbie song on the shortlist — the bubbly “Dance the Night,” which they co-wrote with Dua Lipa and Caroline Ailin.
“What Was I Made For?”Billie Eilish, FINNEASBarbie, Warner Bros.
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The siblings won in this category two years ago for their title song to the James Bond film No Time To Die. They’re likely to be nominated for this tender ballad, which Barbie director Greta Gerwig has described as her movie’s “heart” song. Barbie is vying to become the first film with two best original song nominees since La La Land seven years ago.
“Keep It Movin’”Halle Bailey, Denisia Andrews, Brittany Coney, Morten RistorpThe Color Purple, Warner Bros.
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Bailey (as young Nettie) and Phylicia Pearl Mpasi (as young Celie) sing this song onscreen in this new iteration of The Color Purple. “Miss Celie’s Blues (Sister),” from the original 1985 film, was nominated in this category. Quincy Jones, who co-wrote that song with Rod Temperton and Lionel Richie, served as a producer of both films.
“Out Alpha the Alpha”Marius de Vries, Josh Sharp, Aaron Jackson, Karl Saint LucyDicks: The Musical, A24
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Megan Thee Stallion sings this ribald song onscreen in Dicks: The Musical, which is based on an off-Broadway show with an even more risqué title, F–king Identical Twins. The rap star is also in the cast, along with another famous Megan (Mullally), as well as Bowen Yang and Nathan Lane. Megan Thee Stallion took part in an all-star performance of “We Don’t Talk About Bruno” on the Oscar telecast two years ago.
“The Fire Inside”Diane WarrenFlamin’ Hot, Hulu/Searchlight Pictures
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Warren has been nominated in this category the last six years in a row. If she makes it again this year, she’ll have the longest consecutive streak of best original song nods since Sammy Cahn was nominated eight years running (1954-61). The indefatigable Warren has a second song in play, “Gonna Be You” from 80 for Brady.
“High Life”Gary Clark, John CarneyFlora and Son, Apple
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In addition to co-writing this song, Carney wrote and directed the film. Two of Carney’s previous films, Once and Begin Again, yielded best original song nominees (and a winner in the case of Once). Clark, a Scottish musician-songwriter, was the frontman of 1980s pop band Danny Wilson. Eve Hewson, Joseph Gordon-Levitt, Orén Kinlan and Jack Reynor sing “High Life” onscreen in Flora and Son.
“Can’t Catch Me Now”Dan Nigro, Olivia RodrigoThe Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate
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The Hunger Games franchise has yet to receive an Oscar nod in any category, but the red-hot Rodrigo is at the point in her career that the music branch of the Academy of Motion Picture Arts and Sciences is likely to pay notice. She and Nigro have received two Grammy nods for song of the year, for “drivers license” and “Vampire.” Will the moody and atmospheric “Can’t Catch Me Now” find favor here?
“For the First Time”Alan Menken, Lin-Manuel MirandaThe Little Mermaid, Disney
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Menken is an EGOT winner, and Miranda will be one as soon as he wins an Oscar. Menken won his first of four Oscars in this category for “Under the Sea” from the original 1989 iteration of The Little Mermaid. Halle Bailey sings “For the First Time” onscreen in the film. Two other Menken-Miranda songs from the film, “Wild Uncharted Waters” and “The Scuttlebutt,” are also in play.
“Find a Way”Linda PerryNyad, Netflix
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This would be the first Oscar nod for Perry, a two-time Grammy nominee for song of the year. Annette Bening and Jodie Foster star in the film, which tells the story of Diana Nyad who, at age 64, undertook a 110-mile swim from Cuba to Florida. Perry named her song after the title of Nyad’s book, on which the movie is based.
“Road to Freedom”Lenny KravitzRustin, Netflix
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Kravitz, a four-time Grammy winner for best male rock vocal performance, could score his first Oscar nod for this song from a biopic about Bayard Rustin, a lesser-known but crucial figure in the civil rights struggle. The film’s director, George C. Wolfe, helmed the 2020 movie Ma Rainey’s Black Bottom, which received five Oscar nods.
“Addicted to Romance”Patti Scialfa, Bruce SpringsteenShe Came to Me, Vertical Entertainment
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Springsteen won an Oscar in 1994 for “Streets of Philadelphia” and was nominated again two years later for “Dead Man Walkin’.” This would be his first nomination with a collaborator — his wife, Scialfa. The original score was composed by The National’s Bryce Dessner. Peter Dinklage and Marisa Tomei star in the film.
“Am I Dreaming”A$AP Rocky, Metro Boomin, Michael Dean, Peter Lee Johnson, Roisee, ScriptpluggSpider-Man: Across the Spider-Verse, Sony Pictures
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Spider-Man: Into the Spider Verse won an Oscar for best animated feature film five years ago, though its biggest hit, “Sunflower” by Post Malone and Swae Lee, missed out on a best original song nod. Metro Boomin curated the soundtrack to this film, which reached No. 5 on the Billboard 200 in June. A$AP Rocky’s partner, Rihanna, was nominated in this category last year.
“Peaches”Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, John SpikerThe Super Mario Bros. Movie, Illumination/Nintendo/Universal
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This was the year’s second-biggest hit at the box office, behind Barbie. In addition to co-writing and performing the song, Black was in the animated film’s voice cast as Bowser. This would be the first Oscar nomination for Black, who won a Grammy for best metal performance nine years ago for a track he recorded with Tenacious D for a Ronnie James Dio tribute album.
“Better Place”Amy Allen, Shellback, Justin TimberlakeTrolls Band Together, DreamWorks Animation
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Animated characters portraying *NSYNC perform this song onscreen in the movie. Timberlake was nominated in this category seven years ago for co-writing “Can’t Stop the Feeling!” for the first Trolls film. He and the other members of *NSYNC are in the voice cast, along with Anna Kendrick, Kid Cudi, Troye Sivan, Camila Cabello and Anderson .Paak, among others.
“This Wish”Julia Michaels, Benjamin Rice, JP SaxeWish, Disney
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Michaels and Saxe received a Grammy nod for song of the year three years ago for their collaboration “If the World Was Ending.” It was Michaels’ second nod in that category; her first was for co-writing her breakthrough hit, “Issues.” Ariana DeBose, an Oscar winner for the West Side Story remake, sings “This Wish.” She’s also in the voice cast, along with Chris Pine and Victor Garber.
American Fiction (Orion Pictures/Amazon MGM)Laura Karpman
Karpman could be headed for her first Oscar nod for her score to this satirical film that was written and directed by Cord Jefferson (in his feature directorial debut). The film stars Jeffrey Wright, Tracee Ellis Ross, Issa Rae and Sterling K. Brown. Karpman won a Primetime Emmy three years ago for scoring The Discovery Channel’s Why We Hate.
Barbie (Warner Bros.)Mark Ronson, Andrew Wyatt
Ronson and Wyatt, who executive-produced the hit soundtrack album — and were involved in writing and producing several of its tracks — could be headed for their first nod in this category. Wyatt has co-written songs for several Ronson albums. In 2012, the two musicians collaborated on a ballet score for The Royal Ballet of London.
Elemental (Pixar)Thomas Newman
If Newman is nominated, this would be his 15th nod in the category, a total so far achieved by only eight composers in Oscar history. Unlike them, though, he has yet to win. Newman is the youngest son of the late Alfred Newman, who amassed 41 nominations in this category, winning a record nine times.
Indiana Jones and the Dial of Destiny (Disney)John Williams
This would be Williams’ record-extending 49th nod in a scoring category and his fourth for a film in the Indiana Jones franchise. In total, it would be Williams’ 54th Oscar nomination (the other five are for best original song), which would pull him closer to Walt Disney’s all-time record of 59 for an individual.
The Killer (Netflix)Trent Reznor & Atticus Ross
This would be the fourth nod in this category for Reznor and Ross following The Social Network, Mank and Soul (a collaboration with Jon Batiste). David Fincher, who directed The Social Network and Mank, also directed The Killer. Reznor and Ross won for both The Social Network and Soul. Michael Fassbender and Tilda Swinton star in The Killer.
Killers of the Flower Moon (Apple)Robbie Robertson
This was the 12th and last Martin Scorsese film that Robertson worked on. Robertson, who died in June at age 80, would become the first composer to be nominated in this category posthumously since Bernard Herrmann was cited in 1976 for both Obsession and Taxi Driver. Two other Scorsese regulars, Leonardo DiCaprio and Robert De Niro, star in the film.
Nyad (Netflix)Alexandre Desplat
This would be Desplat’s 12th nomination in this category, all since 2006. That’s more than anyone else has accumulated in that period. The French composer has won twice, for The Grand Budapest Hotel and The Shape of Water. This would be Desplat’s first nod in the 2020s, following three in the 2000s and eight in the 2010s.
Oppenheimer (Universal Pictures)Ludwig Göransson
The Swedish composer won in this category five years ago for scoring Black Panther. He was nominated for an Oscar last year for co-writing a song for the sequel. Oppenheimer was the year’s fifth-biggest box-office hit, a strong showing for a three-hour adult drama. The Christopher Nolan film was based on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer.
Clockwise: Elemental, Killers of the Flower Moon, Spider-Man: Across the Spider-Verse and Oppenheimer.
Disney/Pixar; Melinda Sue Gordon; Sony Pictures.
Origin (Neon)Kris Bowers
Origin is the fifth feature film directed by Ava DuVernay. Her 2014 historical drama, Selma, yielded the Oscar-winning song “Glory” by Common and John Legend. Bowers was nominated for documentary (short subject) three years ago for co-directing A Concerto Is a Conversation, which centered on his conversations with his jazz pianist grandfather. This would be his first nod in a scoring category.
Past Lives (A24)Christopher Bear & Daniel Rossen
Past Lives was written and directed by Celine Song in her feature directorial debut. The film, which stars Greta Lee, Teo Yoo and John Magaro, follows the relationship between two childhood friends over 24 years. Bear and Rossen are members of veteran indie rock band Grizzly Bear, which has landed two top 10 albums on the Billboard 200.
Rustin (Netflix)Branford Marsalis
This would be the first Oscar nomination for jazz saxophonist Marsalis, who is a three-time Grammy winner. Marsalis received a Primetime Emmy nod two years ago for outstanding music composition for a documentary series or special for Tulsa Burning: The 1921 Race Massacre, which aired on the HISTORY Channel.
Saltburn (Amazon/MGM)Anthony Willis
This would be the Australian composer’s first Oscar nod after building a reputation with his scores for How To Train Your Dragon: Homecoming (2019), Promising Young Woman (2020) and M3GAN (2022). Saltburn is the second film to be written, directed and co-produced by Emerald Fennell following Promising Young Woman. Barry Keoghan, Jacob Elordi and Rosamund Pike star in the psychological thriller.
Society of the Snow (Netflix)Michael Giacchino
This would be Giacchino’s third nomination in this category following Ratatouille (2007) and Up (2009). He won for the latter. Society of the Snow is a 2023 survival thriller about a 1972 flight disaster in Argentina’s Andes Mountains. The cast comprises Uruguayan and Argentine actors, most of whom are newcomers to the craft. The film is scheduled to be released in theaters on Dec. 15.
Spider-Man: Across the Spider-Verse (Sony Pictures)Daniel Pemberton
The English composer has yet to be nominated in this category. His only Oscar nod is for co-writing “Hear My Voice” from The Trial of the Chicago 7, a best original song nominee three years ago. This film is a sequel to 2018’s Spider-Man: Into the Spider-Verse, which Pemberton also scored.
The Zone of Interest (A24)Mica Levi
The English composer was nominated in this category seven years ago for Jackie. The Zone of Interest, based on a Martin Amis novel, revolves around Auschwitz commandant Rudolf Höss and his wife and their plans to build a dream life next to the concentration camp. The film, which was written and directed by Jonathan Glazer, is set to be released in the United States on Dec. 15.
Additional reporting by Melinda Newman.
This story will appear in the Nov. 18, 2023, issue of Billboard.
Although Ryan Gosling was the central piece of Barbie‘s big musical number, he will not have the chance to compete for Grammy gold. Contrary to some online reports, the actor is not among the nominees for the show-stopping “I’m Just Ken.”
On Friday morning (Nov. 10), the Recording Academy revealed the official nominations for the 2024 Grammy Awards. SZA reigns atop the leaderboard with nine nods; R&B star Victoria Monét, alt-rock singer-songwriter Phoebe Bridgers and engineer/mixer Serban Ghenea follow with seven each.
Barbie was widely expected to clinch a number of Grammy nominations thanks to its star-studded compilation soundtrack album and separate score album, composed by Mark Ronson and Andrew Wyatt. As Barbie broke records at the box office — eventually strutting its way to a worldwide gross of over $1 billion — the soundtrack reached No. 2 on the Billboard 200, collecting several Billboard Hot 100 smash hits in the process, including Dua Lipa‘s “Dance the Night” (No. 6), Nicki Minaj & Ice Spice‘s “Barbie World” (No. 7, with AQUA) and Billie Eilish‘s “What Was I Made For?” (No. 14).
All three of those tracks received nominations in the best song written for visual media category alongside “I’m Just Ken” and Rihanna‘s Oscar-nominated “Lift Me Up” (No. 2) from the Black Panther: Wakanda Forever soundtrack. The Grammy guidelines for best song written for visual media state that the award is a “songwriter(s) award.” A description of the category on the official Grammy website reads: “For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year.”
Although Gosling is the sole vocalist for “I’m Just Ken,” he is not a credited writer on the song. Those honors go to Mark Ronson and Andrew Wyatt — a powerhouse duo that picked up both an Oscar and a Grammy for their contributions to Lady Gaga and Bradley Cooper‘s Hot 100-topping “Shallow” from 2018’s A Star Is Born.
Gosling’s performance of the track was entered into the best pop solo performance race, but it failed to make the cut in what was a very crowded category this year (281 entries). This year’s best pop solo performance nominees are Miley Cyrus (“Flowers”), Taylor Swift (“Anti-Hero”), Olivia Rodrigo (“Vampire”), Doja Cat (“Paint the Town Red”), and “What Was I Made For?”
Furthermore, the Barbie actor likely won’t have a shot at taking home a gilded gramophone should Barbie The Album take home best compilation soundtrack for visual media. The rules for that category state: “Award to the principal artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, Award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).”
Currently, Barbie: The Album is credited to Various Artists — but it’s probably safe to bet that Ronson and Wyatt would take home the trophies in the case of a Barbie victory. At the very least, Gosling will be able to find solace in the fact that “I’m Just Ken” gifted him his very first Hot 100 entry, peaking at No. 87.
A Grammy may remain out of reach, but Gosling could very well add a third Oscar nomination to his collection. A nod for his supporting performance in Barbie would follow his best actor citations from 2007 (Half Nelson) and 2017 (La La Land).
The music documentary Garland Jeffreys: The King Of In Between, which premiered Wednesday (Nov. 8) during the DOC NYC film festival, reintroduces audiences to a masterful musician whose commercial success may never have matched his critical acclaim — but whose rich legacy is worth celebrating.
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“People that know him cannot believe that other people don’t know him,” says documentary director Claire Jeffreys, the singer’s longtime manager and spouse, speaking in the opening moments of the film over the backdrop of the Brooklyn-born singer’s performance of “Coney Island Winter.” The documentary can be viewed online via DOC NYC through Nov. 26 and is seeking distribution.
Despite the director’s close connection to her subject, Claire Jeffreys has maintained a filmmaker’s distance — while letting a cast of sources speak to her husband’s long history of musically adventurous, socially aware songwriting.
Among those who offer testimony here are the music critics Robert Christgau and David Hajdu, longtime friend and actor Harvey Keitel, and fellow musicians including Graham Parker, Alejandro Escovedo, Vernon Reid, Laurie Anderson—and Bruce Springsteen.
“He’s in the great singer/songwriter tradition of Dylan and Neil Young; one of the American greats,” says Springsteen.
Garland Jeffreys, 80, raised in Sheepshead Bay, Brooklyn, was shaped by his Black, white and Puerto Rican heritage — “father of coal, mother of pearl,” he once sang — absorbing early musical influences from doo-wop to jazz to 1950s rock’n’roll. “My background, my racial mixture, my past, the music that went through my house, it all comes out in my music,” says Garland in the film.
The documentary takes its title from Garland’s 2011 album The King of In Between. “It’s Garland’s phrase and he really related to it because of his growing up biracial,” Claire Jeffreys told Billboard in a conversation before the premiere. “His way of relating to the world was shaped by being neither fish nor fowl, black nor white. He mentions in the film that radio wouldn’t play him on the white stations and he wasn’t being played on the Black stations. [But by] saying `the king,’ he was claiming that he was still standing and still feeling like he had something to offer.”
What Garland Jeffreys had to offer, with all his charm and intensity, was clear from the start. Laurie Anderson appears in the film because, when Garland left Brooklyn to attend Syracuse University, he became fast friends with Anderson’s husband-to-be, Lou Reed.
“Lou really admired Garland, as well as loved him,” says Anderson. (On his 2017 album 14 Steps to Harlem, Garland covered the Velvet Underground’s “Waiting For the Man” in tribute to his longtime friend.)
In 1970, Garland made his recording debut as part of the group Grinder’s Switch, with its musical echoes of The Band. But it was his own self-titled solo debut album on Atlantic Records three years later that signaled the arrival of a singular musical force.
Writing in The Village Voice, Robert Christgau described the debut album’s musical ambitions (“Stonesy blues shuffles rubbing elbows with reggae from Kingston”) and declared that “this man should be given the keys to every city whose streets he walks — ours first.”
The film captures the edginess of New York in the 1970s, an era that defined Garland’s songwriting, from the “heat of the summer” threat of “Wild In The Streets” (arranged and recorded with Dr. John) to the hometown romanticism of “New York Skyline.” Both came from Garland’s 1977 album Ghost Writer, a collection that prompted Rolling Stone to name him the most promising artist of that year.
Two years later, American Boy & Girl contained the enchanting, reggae-tinged single “Matador,” which became a top five hit in several European markets but failed to crack the Billboard Hot 100. Success abroad, however, planted the seed for support Garland needed for a landmark album he released in the early 1990s.
As Garland tells the story in the film, he was at a New York Mets game at Shea Stadium. “I was in left field, absorbed in the game, and a guy from behind me said, `Hey, buckwheat! Get the f–k outa here!’ It was a shock. It was very personal. And I really said to myself, `Don’t call me buckwheat.’”
Don’t Call Me Buckwheat arrived from Garland Jeffreys in the U.S. in April 1992, heralded in a Billboard feature as “a significant concept album that musically crosses gospel, doo-wop, rock, reggae and rap, in songs that describe a lifelong struggle with crossing color lines.”
Notably, the album had been released the previous fall in Europe by BMG International (a corporate precursor to the BMG of today) after Garland was signed and championed by a German executive, the company’s senior vp of A&R, Heinz Henn.
Don’t Call Me Buckwheat “came out 30 years ago, it could have come out 30 minutes ago,” says Springsteen in the film. “I don’t know of anybody who was writing about race as directly as Garland was in the early 90s.”
Told by an interviewer at the time that the record could make listeners uncomfortable, Garland replied: “This to me is an album of hope, it’s a vision of hope.”
But Don’t Call Me Buckwheat from failed to chart in America. Musical “categorization is the reality and tyranny of the music business,” critic David Hajdu says in the film, “and he’s been a victim of it.” Beginning with The King Of In Between in 2011, Garland began self-releasing his albums, but the documentary does not depict this journeyman artist as a victim of the music industry, nor of life.
The film is, in part, a love story. In a charming scene filmed in the hallway of their New York apartment, Claire and Garland Jeffreys describe their first meeting after one of his shows. Claire describes their mutual goal of achieving sobriety. And their daughter Savannah is featured both as a teenager, resisting her father’s invitation to sing with him, and then in a beautiful duet in the studio with her dad, recording “Time Goes Away.”
In 2019, Garland Jeffreys announced he would stop touring. The documentary includes the celebration of his career which took place on June 29, 2019, at the original City Winery on Varick Street in Manhattan’s Hudson Square neighborhood. The night’s performers included, among others, Laurie Anderson, David Johansen, Chuck Prophet, Vernon Reid, Willie Nile, Suzanne Vega, and Savannah Jeffreys, who took the mic and deadpanned, “So I met Garland in 1996…“
“I wanted to show other people’s affection and respect for him,” says Claire Jeffreys of that night. “So it was overwhelming.” Now her documentary has succeeded, in part, by redefining what it means to be a successful musician. “In today’s world, we’re so caught up in mega success or failure, there’s no humility, there’s no just being a working artist,” she says, reflecting on her husband’s rich body of work, created over nearly five decades.
“Sometimes Garland would get very discouraged about where he stood, so to speak, in the pantheon of the music business. And I would say, `Garland, you’ve made a living as a performer and a songwriter. You’ve raised a family. That’s a huge accomplishment.’ I said, `I think you’ve gotta claim that and own that.’ And he really did get to that place in the end. And that was what I was hoping.”
Halloween songs might not be as celebrated — or profitable — as Christmas music (though that’s changing a bit), but there’s no denying the grave reality that people go batty for spooky songs as Oct. 31 approaches. Simply put, folks who want to avoid spooky songs around All Hollows’ Eve don’t have a ghost of […]
Four years after he finished work on the final big-screen adaptation of the zeitgeist-y Hunger Games book trilogy, director Francis Lawrence got a phone call from producer Nina Jacobson, another veteran of the series. And she wasn’t looking to reminisce.
Suzanna Collins – the mind and pen behind the dystopian sci-fi series – had just rung up Jacobson with some news: “Hey, surprise! I’m almost finished with a new book.” Lawrence sums up their reaction: “Wow…. Okay!”
The Hunger Games scribe didn’t offer much information about her forthcoming novel, The Ballad of Songbirds & Snakes, other than that it was a prequel — and it incorporated “a big musical element,” Lawrence recalls.
After reading the book in early 2020, not long before it arrived on shelves, Lawrence was officially in. “I love a villain origin story,” he says of Songbirds, which tracks the rise of trilogy antagonist Coriolanus Snow. The same went for Jacobson. “Suzanne trusting me with this series, we’ve had an incredible rapport and bond,” she says. “I was all in.”
Returning to the director’s chair for The Hunger Games: The Ballad of Songbirds & Snakes – which hits theaters Nov. 17 – served as a dual homecoming for Lawrence. Not only was he returning to the Hunger Games arena, but to the task of pairing songs with distinctive visuals. After all, he first cut his chops as a music video director, helming clips for Destiny’s Child (“Independent Women Part I”), Shakira (“Whenever, Wherever/Suerta”), Justin Timberlake (“Cry Me a River”), Britney Spears (“I’m a Slave 4 U”) and Beyoncé (“Run the World (Girls)”), even winning the best music video Grammy for directing Lady Gaga’s “Bad Romance.” An impressive resume to be sure, but not an exact match for the musical milieu Collins imagined for this story.
Songbirds introduces us to Lucy Gray Baird (Rachel Zegler), an itinerant folk singer thrown into the titular kill-or-be-killed battle – as well as an unlikely romance with Snow (Tom Blyth). “[Collins] told me about the history of Appalachian music of the ‘20s and ‘30s and how often they were based on songs or ballads or poems that had been passed down for generations and collected over time,” Lawrence says of the music that inspired the character of Baird. Collins advised the director to check out Ken Burns’ 16-hour documentary Country Music (“this was during the pandemic, so I had time,” he adds) for context, but both of them realized that finding the right musical collaborator for the film – someone who lived and breathed this music — would be essential to making sure Baird felt like a dusty, jagged diamond in the rough.
Enter Dave Cobb. A Nashville mainstay who’s produced albums for Chris Stapleton, Brandi Carlile, Jason Isbell and Sturgill Simpson (i.e., country singers who value grit over studio polish), Cobb’s contributions for 2018’s A Star Is Born and 2022’s Elvis proved he could work within the Hollywood system without sacrificing his musical ethos.
When his name came up during pre-production, the team got on the phone to feel out his interest level. The connection was immediate.
“Talking to him, he’s an incredible historian of music and has such a passion that rivals Suzanne’s for the origins of what we think of as American music,” Jacobson recalls of their initial conversation. Lawrence agrees: “It was his resume but also just the chat. He’s such a great, smart guy and has such knowledge of the country music genre; he fit the family and is supremely talented.”
Dave Cobb
Becky Fluke
As for the nine-time Grammy winner, Cobb tells Billboard that Collins’ vast knowledge of history – music, political and otherwise – made him excited to hop on board and write songs to accompany her lyrics from the book.
“One of the things that was so attractive about working on this film [is that] I don’t think I’ve ever talked to a more intelligent person in my life than Suzanne Collins. She’s an absolute genius, by any measure,” Cobb says. “Suzanne telling me the impetus of the story had me captivated. I’m a history buff, and everything in this film — everything she’s written for Hunger Games — is derived from real history.”
That, however, presented an additional challenge: “I had to make [the songs] feel like turn-of-the-century, timeless classics. That’s a very hard thing to do,” Cobb admits with a laugh. But it wasn’t entirely outside his sphere of experience, either. “My grandmother was a Pentecostal minister, so I grew up with hymnals my whole life,” he says. “I’m very familiar with this sound growing up in the South and it was really fun to exercise that muscle of things I’d heard growing up, and put it into melodies.”
Collins’ musical acumen was an asset, too. “Dave had long conversations with Suzanne, and she’d give him the history of where the song came from,” Lawrence says, adding that Collins even “had some time signatures in mind” for certain songs before Cobb began writing.
“They have a shared love of the same music and the history of music,” Jacobson says. “She was present virtually for a lot of the recordings and had a lot of conversations with Dave, but gave him latitude, too. She always gives artists an enormous amount of freedom to interpret her work.” Lawrence seconds that: “He wrote the full songs, and we barely did changes.”
When it came time to hash out those songs with a band, Cobb intuitively knew a recording studio wouldn’t cut it.
“The big thing for me was to get the ability to be completely unorthodox,” he says. “We had this crazy idea to come down to my hometown of Savannah, Georgia, and rent an old mansion and record in that.” Using the seminal recordings of 20th century folk archivist Alan Lomax as a guiding light, Cobb found a “200-plus-year-old house” and brought along a few ringers — including bluegrass wonder Molly Tuttle — to record the guide tracks.
“With all the creaks in the walls, you can hear the history in the recording — it wasn’t like a clinical studio,” Cobb says. “The old microphones we used looked like they’d been under a bed for 75 years. Molly Tuttle played a big part – she played the guitar of Lucy Gray, and I found this old ’30s Gibson that she played on. It wasn’t just a regular acoustic guitar – it has character.
“That was a big part of making this come to life. There’s bleed between the bass going into the fiddle going into the banjo — it’s just absolute chaos in a way that makes things dangerous.”
Making it sound dangerous was only half of the equation, however. Ironically, to find a real-life location that looked Appalachian, the film crew decamped to Duisburg, Germany, filming a pivotal scene at an abandoned factory to evoke District 12’s black market district. “It’s something they would never do in the States – they turned [the factory] into a publicly accessible park and let nature take over,” Jacobson says. “There’s all these places where you can go into gritty, grubby basements with the equipment still there.”
With that as the backdrop, Zegler delivers one of the film’s finest musical moments, forcing our emotional investment in her romantic relationship with a character we know grows up to be a monster – all while singing the hell out of a breathtaking song that could pass for a long-lost Carter Family classic.
“Rachel is such an incredible talent that she ended up singing everything live [on set],” Cobb says of Zegler. “She’s so naturally gifted – it was effortless for her.”
Rachel Zegler and Tom Blyth in The Hunger Games: The Ballad of Songbirds and Snakes.
Murray Close
Despite being one of the first people in talks for the role (and a fan of the franchise), Zegler initially wasn’t able to do the film because of hectic scheduling issues. As the search for Lucy Gray Baird dragged on, Jacobson grew concerned. “We auditioned a zillion people and there are a lot of wildly talented people out there, but this is such a specific character. When she sings, it has to be jaw-dropping; anything short of that won’t deliver.”
Kismet came to the rescue, however, when Josh Andrés Rivera (who worked with Zegler on West Side Story) landed the role of Sejanus, Snow’s best friend. “He had this amazing audition,” says Jacobson. “I didn’t realize he was Rachel’s boyfriend – I just thought he was the guy who came in and gave us a great audition.” With Rivera set for a lengthy lockdown stay in Europe while filming the movie, Zegler and her team reconsidered the scheduling conflicts. “We got the call [from her team]: ‘Is it too late?’”
A chemistry test between Zegler and Blyth sealed the deal – even over Zoom, it was palpable. “We all wanted to be mindful of her musical theater background and make sure we got that authenticity in her singing,” Lawrence says. “As soon as she came on the Zoom test with her and Tom, I had her sing an a cappella version of ‘Wildwood Flower’ to Tom. And she just nailed it. It was slow, emotional and she had a little dialect happening. It was so, so good.”
“Rachel has this beautiful, almost ‘30s American pure voice,” Cobb muses. “She can sing anything.”
Her performance is equally revelatory. In Songbirds, Zegler believably portrays a tough, charismatic survivor who carefully guards her inner life and moral code; as we watch her become vulnerable with a character “people have already decided they hate,” as Jacobson says of Snow, it’s impossible to resist getting caught up in this suspenseful, engrossing rush of a film. While Collins’ evocative lyrics and Cobb’s familiar yet fresh melodies do a lot of heavy lifting, it’s hard to imagine anyone but Zegler pulling off the balancing act demanded by the story.
“We knew it would be a challenge to adapt this book,” Jacobson admits. “But it’s also a sort of homecoming, having made so many of these with Francis and this creative team. It’s a rare gift.”
“[Collins] writes from a thematic foundation that gives [Songbirds] relevance and importance,” Lawrence says. And though he has no insight into whether the series ends here, he’s certainly up for another one. “If she came up with another book — whether a direct sequel or a standalone or a new series in this world — I would be really into doing it again.”
It’s almost time for 1989 (Taylor’s Version), and Taylor Swift has dropped another preview of what’s to come with a snippet of her re-recorded “Out of the Woods.” “Out of the Woods (Taylor’s Version)” is featured in the latest trailer for Illumination and Universal’s animated film Migration, due out in theaters Dec. 22. Explore Explore […]
